The Salesman covers a lot of social commentary over the course of 2 hours in an incredibly focused way–the most devastating of said commentaries being the role of women in the Middle East. The idea of revenge isn't glamorous here, as so many films make it out to be. It's a tragic mess that only serves to leave those who seek it in worse condition than ever intended. Superb acting and directing.
It's five stars, because the writing and the directing is superb. There are details as the one about the money which are priceless and the work of a genius. Maybe not for everybody but for me it is the perfect combination of words and images, into a universal sharing of ideas and feelings which goes quite beyond the idea of Iran or of a different society. It's a perfect tapestry. The best reason to go to the cinema.
Wow. What a film!! I have read some reviews calling this film "minor" Farhadi, which only excites me to see the rest of his filmography. If The Salesman is minor, being such a well-crafted drama, then I can only imagine what A Separation must be like. Looking forward to it. Been a while since a film has left me this floored (excluding Logan).
It's probably a little too tidy but Farhadi's second Oscar-winning film is a shrewd, icy revenge tale that expertly weaves the echos of Death of a Salesman into its narrative in the most unexpected ways. Engrossing and disturbing in equal amounts, that doesn't spare even the audience from feelings of complicity.
Quelle part de la vérité détenons-nous ? Plus qu'un film moral ou édifiant, Le client, comme toujours dans le cinéma de Farhadi, entremêle à nouveau tous les thèmes du cinéaste : le couple, l'indicible et la pesanteur de la société iranienne, pour montrer combien nos relations sont complexes. Sa force est de toujours nous laisser nous, spectateurs, dans le doute, nous montrant que nous ne pouvons rien trancher.
Farhadi makes an exquisite dissection of the Iranian society. Even the smaller, as though occasionally inserted scenes, the minor characters left somehow in the periphery of the storyline, give us precious insights into mentality, manners, and issues of the Iranian people. Step by step the puzzle is put altogether. 'How does a man becomes a cow?' 'Gradually'.
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
The shallow layer of civilization cracks easily, sometimes with the sound of a closing (and opening) door. But why? Because of some archaic notions of honour and pride to which especially men are susceptible? This seems to be suggested by Farhadi’s new film. It doesn’t manage to build up a true moral dilemma, but tries to understand its characters fighting with the will to revenge and the acceptance of what happened.