In the new film by Asghar Farhadi, the walls tremble: the Tehran building inhabited Emad and his wife, Rana, threatens to collapse. In the end, this intellectual couple – he is a professor of literature, they make all the theater – is in ruins. Meanwhile, they moved into a new apartment, the previous tenant, “a woman who has many companions” (ie a prostitute), refuses to rid his business. It was there that evening, Rana alone opened the door without asking who sounded, convinced that it was her husband. When he returned, he found bloody footprints and Rana traumatized.
What has happened? This is what the character is trying to find out, leading its own investigation, but the key issue is to understand how this incident and the questions it raises will insidiously change the hitherto cloudless relationship between a man and a woman .
There’s Chekhov in Farhadi
in the way it has to probe the human soul, there is Chekhov in Asghar Farhadi, but to start the filmmaker and writer shows an outstanding architect, who develops a relentless mechanical and, from everyday situations, installs suspenseful moments and creates a story that takes the audience spellbound from beginning to end.
“the Client” (original title “Forushande” means “the seller” and refers to the Arthur Miller’s play “Death of a salesman” and that Emad Rana play as amateurs) book of Iranian society and, more specifically, the image and role of women, a mixed picture and grabbing. He draws particular the beautiful portrait of a young woman victim of an unfortunate circumstance and, even more, the look worn by men on this event she has never done that suffer and endure.
the return of the filmmaker in Iran, after the French experience of the “Past” offers him to meet all its brands and improve an already outstanding expertise. And as always in his films, the actors are amazing, especially the beautiful Taraneh Alidoosti. There is little doubt that the film deserves to be at the Cannes awards. But what place?
“The Client” Asghar Farhadi, with Shahab Hosseini, Taraneh Alidoosti (2:05). In theaters in November.
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