Asghar Farhadi … a camera that captures the (taboos) of Iranian society


In the middle of the night, screams hit the silence … the house collapses. The escape becomes hopeless and chaotic. Residents are trying to get one or two of their stuff … at least one coat. Families disintegrate. The disabled need help. The horror shakes everyone. The building that housed Imad (Shehab Hosseini) and Rana (Tranh Alidosti) became uninhabitable, so they had to move. Iranian director Asghar Farhadi tells the story of a married couple who suddenly find themselves mired in a situation that reveals unexpected sides of their personality. In his seventh film, The Seller (2016), Farhadi narrows his focus to stop when a relationship between a married couple breaks down in the struggle of life and traditions. Once again with Farhadi, we are in the heart of Tehran, in the spirit of a married couple, in a narrative space of a struggle that strongly pushes towards jealousy, humiliation, revenge and marital instability. A perfect social mosaic and a game of mistakes and guilt. With immense precision, Farhadi introduces two sardines: one is theatrical (a theatrical rehearsal the couple performs with their band) and the other is real by a hard man. A solid marriage begins to unravel when a dangerous and unexpected moment strikes it. The two strands run parallel, without friction. The sediments continue and the event that afflicted their lives continues, and we are caught between a humiliated woman and a man unable to manage the contradictions that attack him.

The strange thing in all Farhadi cinema is that essential conflict

The strange thing in all Farhadi cinema is that essential conflict. What moves the inner and emotional plot of the characters is extracted from the narrative visual field of the story, and is kept away from the viewer’s “point of view”, giving the story the character of a private semi-police plot, while the viewer is encouraged to think about personality, morals, and imbalances about issues of class, gender, culture and religion in Iranian society. . All this is captured by a gesture-obsessed camera, with the daily bare minimum of detail to make sense of cool conversations.
The film preserves the perfect harmony between tension and emotion, almost like a flame of excitement and melodrama spirit of Farhadi. It doses doses of emotional ups and downs and intrigue in a way that keeps us always eager to collect and collate unexpected information. Farhadi’s cinema is like a puzzle, and what is most surprising is that when we finish the film, we feel that if we watch it again, if we untangle the mystery, we will have a more complete and better picture of this exciting story.

* The Salesman on Netflix


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