The Salesman

What I admire about this film is (1) Farhadi maintains his exceptional and engaging style of storytelling, and (2) like in About Elly and A Separation, he challenges both our collective values and inner judgements. But what I don't appreciate as a viewer is an extra touch of manipulation and melodrama when he's doing so in the climax of this film. The parallel between Emad and Willy or rather the two couples also seems to be a bit of a stretch, just not compelling enough.

A dialogue with Miller's "Death of a Salesman" which builds up to a nerve-wracking, relentlessly complicating psycho-moral onslaught of a third act. Alidoosti and Hosseini turn out awesome performances in a film that reaffirms Farhadi's place at the very top of the art of cinema.

On shame and humiliation, with many layers concerning Iran, playing roles, blah blah blah, but the most important thing, receiving seemingly little comment, is that the central theme is highly relevant today, and far beyond the borders of Iran: those who act in the name of victims very often do so for their own reasons, with insufficient moral or psychological insight, and in a way that does no favours for those victims about whose suffering they purport to be outraged. A very very fine drama.

If I had to compare both, I'd say Kiarostami is the more challenging filmmaker, whereas Farhadi remains the superior storyteller. His direction is also something I've come to greatly admire ever since watching About Elly for the first time. From the actor's movement to the alternation of shots and efficient camera placements - every choice appears so effortless, when in fact it's so skillful. Somewhat ruined perhaps by a lazy ending but still worth a watch for any Farhadi enthusiast.

Far below A Separation, this movie fails to properly engage with its story and the play is left quite separate and supefluous.

My least favorite out of the last four Farhardi films, but it's still very good for the most part. The last act is flawed, though.

vintage farhadi with the usual identity crises, stressing of familial bonds and tensions between traditional and modern, but with an emphasis on iran's strict segmentation between public and private, performance and reality, eroding those barriers until the actor protagonists are confronted IRL by the characters they're playing on stage. notice the 'anonymous' prostitute is actually hiding in plain sight; a sly panahi-esque joke at the expense of the censors.

I love how Farhadi makes it about many things at once.

Başka Sinema - Rexx.

Believable story and cast with an interesting premise.

I loved A Separation and I think this created irritation in the beginning of this film. But while this film is not nearly as good as that one, it is a good film in its own right. While initially a bit unfocused, the film eventually turns into a morality tale about manhood, revenge and atonement. Only parts of what actually happened are explicitly shown/stated, which leaves certain puzzles with the viewer, but the actors are brilliant and the director has an interesting story to tell.

Not without its flaws, but the confrontation scene is incredibly intense.

Good that F. relativizes his own Godlike perspective in presenting us the so called moral dilemmas and complex aspects of human condition, although I am categorically against such a descriptive humanism which serves nothing but to define a metaphysical timeless human being. The question F. asks is: are they really poor victims of an assault or are they simply 'acting' their reactions according to society's conventions (man's role as protecting husband, wife's as a forgiving sentimental woman.)

bir toplumsal var kişiselden içre. yıpranan ve kokuşan ilişkiler içerisinde ayakta duramayan mı bireyler yoksa doğrudan o kokunun kaynağı olanlar mı? sorular çok özel değil, ama şu manipüle etmeye çalışmaya bu kadar girmeseydi, daha ince eleseydi farhadi hali hazırda kanıtladığı hikaye anlatıcılığına daha da yakışır bir film olurmuş.

It has Farhadi's signatures in a way that reminds you of A Separation but doesn't reach the top but still very good

Well done, to be sure, though it felt quite a bit more insular than a lot of Farhadi's previous work. And while that is not necessarily a problem, what has given his work such vitality is its commentary on societal as well as personal mores, whereas this film was drawn much more closely to the personal alone. That said, the skillful way he unfolds the story once again speaks to his skill as a narrative filmmaker.

Thoughtful but strangely manipulative drama that addresses Farhadi's usual concerns about gender and class and the roles we all play in the broader social game. The metatextual aspects related to Death of a Salesman work until the moment contrivance sets in. Emad's desire for revenge consumes him to the point that his motives become deeply questionable, but Farhadi could have pushed this aspect of the story further. As expected, the acting is first rate, with Alidoosti in her usual radiant form.

Tiyatro, öğretmen, karı-koca, yeni ev, taşınma, suçlu, kişisel ceza, (Evleri çökmekte olan karı koca arkadaşlarının tavsiyesiyle yeni bir eve taşınırlar. evin eski sahibinin eşyaları evdedir. SP kadın bir gün kocası geldi sanarak kapıyı açık bırakır. Adamın biri eve girer ve kadını yaralar. Koca adamı arar ve minibüs anahtarından ulaşır. Adam yaşlı bir adamdır. Kadın acır -sinir oldum kısma- Her neyse suçu işleyenin yaşlı olması sorumluluğu azaltır

18.07.2021 Kartal

Basically about the satisfaction of revenge and quite effective in that way. I think there is supposed to be some parallel with the play Death of Salesman, but though I have read he play many years ago in high school, I cannot point out what it is.

Part of what made Farhadi's previous effort, 'A Separation,' so remarkable is the subtlety with which interpersonal dynamics are treated. Here, regrettably, we see behavioural nuance traded in for increasing contrivance and melodrama that reaches a hysterical plateau by the third act, all the while watered down with an overly blunt parallel to Arthur Miller's titular stage play. Farhadi's heavy-handedness towards the end makes this feel maddeningly polemic.

A couple's lives are shaken by an unfortunate incident, & a key factor in their failure to heal and reconnect is the husband's pride & insatiable desire for "justice". What's fascinating is how well all sides are presented & the audience's emotions subverted. Sometimes victims are not the only victims, but everyone connected to the act in some way can suffer, & the offender isn't always who you expect them to be. Public humiliation won't satisfy. Revenge won't satisfy. Forgiveness is essential.

Hayata temas eden güzel bir hikaye oluşturma ve duygu intikali hususlarında yine fevkalade başarılı ama bir şeyler eksik. Elly Hakkında ve Bir Ayrılık’taki seviyede bir duygu aktarımı bunda yok. Hikaye onlar kadar kuvvetli değil. Nihayetinde vardığı nokta da mezkur iki filmin aksine -bilhassa Elly Hakkında’nın- insana üzerine düşünecek büyük bir çatışma sunmuyor.

audiovisual 75 acting 80 overall feeling 70 avg ~75

Babak: "They ruined this city once, they built it again, and now this is it."

Pretty much like the recent Brazilian Silence in the Sky, but that prefers the theater background than procedural thriller. Not great, but at least Farhadi returns to a more familiar ground after the boring European arthouse shit called The Past. Some good acting in the last 30 minutes and the focus on the woman decision -- she promises to leave if the husband confronts the old man again, and she really does -- make it at least worth the watch.

Ciğerimize ciğerimize vicdan muhabesinin korunu bastı gene

... bitch i'm sad, okay!

Romanesco.

Masterpiece

First half was very slow paced, gets better and better towards the ending.

Another great movie by Farghadi. Same structure of "A Separation" works very well.

Gripping. Keeps you wondering what you'd do in his shoes in such a harrowing dilemma, one where there can be no positive outcome. First Iranian film I've seen as well and the cultural difference is a good escape from the Hollywood / European norm!

The increasingly strained relationship that develops between the two leads in this film arises from the simple premise of how normal people deal with conflict, and it speaks volumes about women's place in Iranian society, and of the differences between the sexes in general. Almost all of the suspense generated here originates from this (mostly unspoken) tension between the sexes, and is expertly sustained until the narratively weak, but technically assured final act.

Asghar Farhadi filmlerinin çıtasının altında... The Past ve A Seperation'ın yanına yaklaşamıyor.

It's not a true story, but it is very very real.

Walked out in the middle. Could not find a reason to sit through this.

1473: not bad

one of his 'what would you do' films

Forushande [The Salesman] (2016) is a little bit 'a mountain out of a molehill' situation where a simple break-in becomes a obsession creating conflicting trauma for the family. It become a increasing intense experience, though a lukewarm beginning and a not so fitting 'Death of a Salesman' backdrop/intermission in between the real drama. Nominated for the Best Foreign Film of the Year at the 2017 Oscars, it's not a bad choice in what was a mostly lackluster year for big cinematic experiences.

Yet another complex, gripping, and humane drama from Asghar Farhadi, albeit one that's less immediately engaging than some of his previously acclaimed work. In tiptoeing around the plot's more disturbing details, THE SALESMAN can feel like an old-fashioned story in all the wrong ways. However, its reticence also reflects a pernicious social and emotional isolation that makes its characters' struggles that much more heart-wrenching.

A slow burn to begin with, as it had me wondering where exactly it was leading up to, which turned out to be an incredibly intense final third. All the elements of film, particularity the writing, acting, editing, and lack of music, strengthen this work to be the most impactful it can be as it delivers an enormously divisive moral concept that is sure to get fiery conversations started. Should've been the first film to win the Best Foreign Film and Best Picture Oscar.

Superior storytelling and acting.

The final act brings this together in a way that subverts the gender politics established by the first hour. Another great examination of how bad choices beget bad choices and a positive feedback loop is hard to escape.