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The Salesman


Instrueret af Asghar Farhadi
Iran, Frankrig, 2016


The Salesman is the story of a couple whose relationship begins to turn sour during their performance of Arthur Miller’s Death of a Salesman.

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The Salesman Instrueret af Asghar Farhadi

Priser & festivaler

Cannes Film Festival

2016 | 2 vindere including: Best Actor

Academy Awards

2017 | Vinder: Best Foreign Language Film of the Year

The quiet, simmering intensity of The Salesman doesn’t match the full boil of A Separation or About Elly. It’s more about personal humiliation, the kind that flourishes with insecurity and develops into emotional rotgut. Farhadi ultimately sees the character’s turmoil as a byproduct of Iran’s consistently destructive social policies, the effects of which are constantly seeping up through the floorboards.
February 14, 2017
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In a series of tautly constructed dramas that imbue the everyday struggles of married life with suspense and tragedy, filmmaker Asghar Farhadi has proven himself a remarkable observer of the social, moral, and personal dimensions that shape contemporary Iranian society. His latest film, The Salesman, explores these themes through the story of two actors (played beautifully by Taraneh Alidoosti and Shahab Hosseini) whose marriage is thrown into crisis when Rana is assaulted in their apartment.
January 27, 2017
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The thematic integration of scenes from Death of a Salesman into the breakdown of Emad and Rana’s marriage don’t always fit together comfortably, save for perhaps the final scene between the pair, echoing Linda Loman’s ironic final refrain (“We’re free and clear, Willy….we’re free…we’re free…”). And the resolution of Emad’s revenge-fueled search for his wife’s attacker, while purposefully dissatisfying, does not do so in a way that is particularly interesting or thought-provoking.
January 27, 2017
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Hvad siger folk?

  • chanandre's rating of the film The Salesman

    [2016's last film]Really Farhadi?Manipulating Me into feeling Sorry for a RAPIST's death?"But he was a respected family man."[Do I C A R E ?!]Why would Rana even CRY?Wasn't she Brutally Objectified+Paid, Assaulted&RAPED?Has she 0 dignity, self-worth &self-respect, that she relates more/feels closer to the rapist "pain"/"shame"(and of his 'poor' family), than herself's?GROSS+SNUFF/G'ahead: shower it with awards(GTFO!)

  • OFF_FRAME's rating of the film The Salesman

    Incredibly well designed from a formal storytelling perspective with strong performances throughout Farhadi manages to comment on gender, family, politics community and shame. It's strength is also it's weakness as there are times when that design rigueur feels to be forcing the characters choices instead of the other way around. Great stuff though. 4 stars

  • msmichel's rating of the film The Salesman

    Farhadi's ability to reveal Iranian society and its gender inequalities even within the most hackneyed of stories is quite impressive. A woman's honour and a man's pride are the surface drivers of the story but the undercurrents run deep. Performances are quite exceptional though the lauding of the script (Cannes winner) seems excessive with its awkward subplot of Arthur Miller's play and asked empathy for a rapist.

  • Carlos Filipe Freitas's rating of the film The Salesman

    “The Salesman” might not be as striking as “The Separation”, since it’s a slightly more manipulative, but is a powerful piece of cinema that authenticates Farhadi as the most predominant contemporary Iranian filmmaker.

  • FilmEdie's rating of the film The Salesman

    A thoughtful literary drama, infused with the palpable tension of a thriller. Slices into Miller's Salesman to dissect the marriage relationship: The husband's tragically single-minded pursuit of some ego-objective to fulfill his imagined role in the relationship, at the expense of the relationship. Taut & resonant. With nuance around aggression/sexual violence that I hope triggers conversation over condemnation. 3.5

  • Duncan Gray's rating of the film The Salesman

    It's not on the level of A Separation, but these days, what is? I remain dazzled by how Farhadi can make a movie about so many things at once—class relations, the treatment of women in Iran, the tie between art and life, representation under a regime of censorship—while not losing focus on his characters. The plot doesn't quite add up, but it holds you. Pity the director got banned by a certain shithead president.

  • josé neves's rating of the film The Salesman

    Digital. What continues to interest is the way the camera persistently chases the characters drift and their obstinacy. What fails is the combination with the theater sector and the representation of Arthur Miller's play, and, in that continuity, a kind of submission to an idea of 'art', of a too French 'quality'. The actors' naturalistic performance transposed to theater reveals to be disjointed and out of place.

  • Lorna Singh's rating of the film The Salesman

    Another gem from a master storyteller. A focus on how revenge can make us forget our true selves. The last 20 minutes are cinema at its most powerful.

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