Farhadi parvient à dresser un critique tableau de la société iranienne, à travers ces neuf personnages en porte-à-faux, qui sous leur décontractée apparence occidentalisée vont peu à peu laisser émerger, à travers leurs réactions, les contradictions et les carcans de leur individualité, en parfait et perturbant épiphénomène d'une société islamique lourdement restrictive, inquisitrice et directive. www.cinefiches.com
This is film has, in a way, the subtle quality some directors, like Nadine Labaki are able to give to their work. Without ever even coming close to producing an outright militant subversive art piece, they are very diligent in addressing some of the most important social issues. Some chinese director seem to be doing this also, and Kiarostami was always like this. Regimes have a hard time with this. How to censor?
Like watching a well-written play with profound implications regarding the tragic need to lie or maintain secrets or honor, as well as confront one's intentions, and conscience. Those in the west who quickly reduce the story to an "Iran" problem fail to see their own societies' flaws and built-in deceptions. Cinema buffs who make easy comparisons to Hitchcock and Antonioni don't see enough.