The Past (2013)
The Past
”A man abandons his family, only to return and confront his wife's new relationship.”
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Why watch this film?
A movie from the Iranian director Asghar Farhadi (same director of 'The Salesman' and 'A Separation'); nominated for a Golden Globe for Best Foreign Film, with a well-crafted screenplay and an ensemble cast that is truly a gem.
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Plot summary
An Iranian man deserts his French wife and her two children to return to his homeland. Meanwhile, his wife starts up a new relationship, a reality her husband confronts upon his wife's request for a divorce.
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From the same director
A Separation
This movie has won all the major international awards, including an Oscar, a Golden Globe, and a Golden Bear. Despite its interesting Iranian cultural background, the storyline remains universal: the separation of a couple due to the different needs life has imposed on them. It is almost impossible not to identify with the characters.
The Salesman
A critique of the current Iranian - and, by extension, the current world's - machismo, prejudice, and hypocrisy. The script is fluid and round, gaining even more with the performances of Taraneh Alidoosti and Shahab Hosseini. A work to have a cinema lesson and to know a culture that is at once so close and so far from ours.
Everybody Knows
Director Asghar Farhadi (‘The Apartment’) returns with an all-star cast and a story full of melodrama and suspense, proving that he has a great hand for crafting intimate and intense tales that surprise the viewer. There’s a certain influence from great suspense masters like Michael Haneke and Alfred Hitchcock, but with the mastery and complexity that the Iranian possesses to create characters and conflicts with a great human, visceral, and passionate perspective. Penélope Cruz, Javier Bardem, and Ricardo Darín are simply wonderful in this impressive drama that will not leave you indifferent.
A Hero
Asghar Farhadi is one of the most interesting playwrights of our time, and for those familiar with his work in films like 'A Separation' or 'The Apartment', they know exactly what to expect. That's because Farhadi crafts the narrative of his films in a very particular way that is exceptional: he offers a moral dilemma of seemingly simple solution, but composes its development with twists, different points of view and a variety of carefully written characters full of depth and ambiguity, true and human representations that cannot have their morality defined in a simplistic way. Thus, our protagonist gets involved in a spiral of events that make us question our values and concepts of right and wrong countless times, without delivering an easy answer. The beauty of 'Ghahreman' lies precisely in its composition, which is raw and honest. All characters are understandable, and all dilemmas are relatable. The work on the drama is masterfully composed and with a universal language, which directly dialogues with any spectator. A lesson of cinematographic language, of the power of the use of image and narrative form to build a powerful social drama deeply humanized. Click here to read the full review.
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