With ‘The Salesman’, Iran’s Oscar-winning director Asghar Farhadi offers once again a multi-layered masterwork of neorealism.
ADVERTISEMENTWith ‘The Salesman’, Iran’s Oscar-winning director Asghar Farhadi offers once again a multi-layered masterwork of neorealism.
Emad and Rana are a happily married couple who live in Tehran. They are members of an amateur theatre group that’s putting on a production of Arthur Miller’s ‘Death Of A Salesman’. After they are forced to leave their flat which is crumbling down and move into a new place, Rana is the victim of a violent attack. It turns out the flat’s former occupant was a prostitute and the attacker was probably one of her clients. Emad sets out to find him.
‘The Salesman’ is not just a drama but a meditation on the condition of women and the place of tradition in modern-day Iran. Rana decides not to go to the police – a decision clearly influenced by her and Emad’s fear of what others might think.
A study on violence and how it can push even the wisest to seek revenge, the film also raises the universal question of forgiveness.
Carefully scripted to bypass censorship, ‘The Salesman’ leaves a lot up to the viewer – a freedom of interpretation we hope you will enjoy as much as we did. See you soon.
