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The Salesman. A journey to anxiety
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Director Asghar Farhadi is known by such suggestive titles as The Past and A Separation. He has now won his second Oscar for Best Foreign Language Film, this time for The Salesman, a title that refers to Arthur Miller's play Death of a Salesman. The protagonists are a couple that participates in the staging of this play. The husband, like the protagonist in Miller's play, feels humiliated and wounded in his pride. These feelings lead him to a desire for revenge confronted with senses of guilt.
Emad and Rana, the protagonists, are forced to move from their house to the flat of a friend because their building is in danger of collapsing. One day, Rana is assaulted by a man who had the previous tenant as his lover. Emad, deeply wounded in his honor, will go in search of the aggressor looking for revenge. On the other hand, Rana does not want to report him to the police, despite having been the victim of an act of violence that has psychological consequences for her. This discrepancy between the couple will cause a model relationship to be gradually deteriorating until the startling climax when the perpetrator comes in, and they have to decide whether to carry out the revenge. Each sentence of the script leads to the tragic end. Each scene subtly resolved opens the door to another one that intensifies the suspense, and we are spectators of the drama produced by the clash of feelings confronted with a limit situation.
Farhadi, once again, shows a great mastery of the rhythm, the narrative line and the treatment of spaces. These can be considered as an extension of the situations the protagonists live.
Texts: Núria Farré. facebook@cinemaperaestudiants.cat
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