What makes his movie a Farhadi's movie is how he grabs the viewers by delivering the story with the use of elements blended with agonies, such as infidelity, jealousy, suspicion, the feeling of abandonment and lies. Also this story is perfectly staged with a dominant fact that is usually hidden. A well-blended experiment on human nature and fate portrayed through multiple character conflicts.
A little too melodramatic for me. Taraneh Alidoosti is great as a somewhat naive young woman who learns some uncomfortable truths. I really that thing the guy said, "You made me hit you." No, you scumbag, she's too good for you. Making her think she's the crazy one?
Farhardi's forte, once more put to great service in terms of character development, delivers an intense melodrama that refuses to take for granted stereotypical viewer expectations even when these align with the filmmaker's own perspective. Some genuine cinematic moments derive from the bleu electrique interiors in the bathroom shots, others though are less illustrative of his cinematic skill. Superbly acted piece.
A firecracker explodes at the hairdresser's feet. In shock, she looks back at the alley where she has just broken off her affair. The man and his car are gone, but there is an older woman trudging with a walker. It made me think, there really is so much we need to do in our relationships relating to communication so that we don't carry anything that may haunt us or others, later, at an older age...
Iran shows up beautifully on film. Asghar Farhadi's deft vantage creates a prismatically mundane story with characters already spinning in the motion of their lives. Not as entirely revelatory as About Elly, but very strong work, particularly from Hedyeh Tehrani and Pantea Bahram. The elevator shot captures you in disorientation.
I could not help by being so captivated. There was something that was so twisted yet stern when it came to marriage. A strong message, the grass isn't always greener on the other side was clearly stated. Build of the characters brought such a rhythm and sorrow to me. It opens the eyes of how much people don't appreciate what they have and don't realize how there actions effect others.
Avec un remarquable sens aigu de l'image qui touche, marque, révèle, le metteur en scène nous livre une oeuvre étonnante de vivacité et de pétulance existentielles, avec toujours en filigrane, une critique pertinente et fondée de la société iranienne... www.cinefiches.com
So many fine moments done in beautiful cinematography, colours and sound. Farhadi comments the absurdity wasteland of human relationships by prolonged scenes voided of acting, filled with incidental sounds and monotony. A scene to offer: Simin's determination to leave diminished with a firecracker exploding under her feet. End feeling: at a quite consent all delusions are to be continued. Masterpiece.
A subtle melodramatic love triangle between an upper-middle-class couple and the hairdresser in their apartment block. It has some contrived drama, centred on gaslighting, but also has a playful performance from Alidosti as the working class maid, soon to be married, who sees (and smells) it all, and whose chador becomes part of the intrigue. A carefully framed narrative, full of interesting details of Iranian life.