"At this point there's not much doubt that Farhadi's work has revolutionized new Iranian cinema, pulling it out of the much-beaten path of realism and self-reflection pioneered by directors like Abbas Kiarostami and Mohsen Makhmalbaf and onto a new, highly dramatized and theatrical road"
- Deborah Young, Cannes Review, The Hollywood Reporter
Ostensibly, the films of Asghar Farhadi embrace small details of interaction between people— be they husband and wife, neighbors, or co-workers— as signifiers of human psychological instincts. But to describe his oeuvre as such is to elide the depths to which he plumbs those instincts and how quickly an event, because of these deep internal reservoirs, can spring another character into action with devastating results. Farhadi's films communicate astonishing social complexity, but perhaps his greatest accomplishment is that love, hurt, fear, revenge, and redemption are presented as equally valid conditions, or aims.
The Salesman follows a young couple living in Tehran who are forced to move into a new apartment after their old flat becomes damaged. An incident linked to the previous tenant of their new home dramatically changes the couple’s life. Based on Arthur Miller's Death of a Salesman, Farhadi's latest film premiered in Competition at Cannes where it won Best Actor and Best Screenplay.
Farhadi's A Separation became the first Iranian film to ever win the Oscar for Best Foreign Language Film in 2012. This year, Farhadi is nominated again with The Salesman, though unfortunately the ceremony won't be of much use to him.
Support Iranian cinema by seeing The Salesman, now playing at the Angelika.