Honourable codes parlay filings frosty, high stress politesse addressed immaterials, expectations, blame, a role, a play, residual sin licentious spaces, jasmine, tremors entrenched repute resounding, a home makeshift explicit riffs callow, advanced notification withheld as fictional and realistic threads intertwine to obscure an artistic commitment, the adoption of a foreign text from a less patriarchal period and country (?) expressing thoughts and desires strictly forbidden, blended with alternative signs of subterranean dissatisfaction to question free thought as if it's a supernatural challenge, as if the artist is being challenged by God, a progressive man on the Iranian scene must internally confront strength, shock, and shame, obsessive disdain, turmoil exhaustively cultivated.
His wife's willing to forgive.
Emad (Shahab Hosseini) spends so much time thinking vengeful thoughts that he overlooks Rana's (Taraneh Alidoosti) suffering as rage slowly consumes him.
She was the victim, she was the one who was attacked, but throughout Asghar Farhadi's The Salesman Emad is more concerned with personal honour.
He critiques the system within which he was nurtured but is still a product of that system and when the real clashes with his noble imagination the sublime does not judiciously compensate.
Women shortsightedly relegated to a subservient role.
The salesperson interrogates to enlighten yet struggles as he surfaces.
The film brilliantly examines his tortured soul, but is also a product of its circumstances, and focuses far less time on the feminine.
A purgatorial predicament.
Igniting bitter flames.
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