Shahr ziba asghar farhadi biography

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To wit, Western critics have often claimed him as one of their own, arguing that his directorial style fits comfortably within a supposedly respectable melodramatic tradition represented by the work of directors like Paul Thomas Anderson, Michael Haneke, Mike Leigh, and Michelangelo Antonioni where

…nice, complacent middle-class people tootle along with their lives and then they’re sideswiped by a horrible event—mysterious, anonymous and malevolent—which shatters their calm and cracks open the carapace of their daily routine.

1 (Winter 2011): 42.

Farhādī’s oeuvre and its cross-over or international appeal may also serve as evidence of the maturation of Iranian cinema, at least from the perspective of non-Iranian or Western critics and audiences, in that these viewers are now prepared to see Iranians in different and more familiar contexts than they were before.

The film concludes in a typically bittersweet fashion, establishing an uneasy détente between the couple after Sīmīn ends her relationship with Murtizā while Muzhdah remains doubtful about her husband’s fidelity. A few of its segments never aired because of their controversial content. However, the court case and resulting press has unleashed other allegations of Farhādī cheating his collaborators of their fair dues.

He as a director has received many national and international awards such as Crystal Simorgh of Fajr International Film Festival; Golden Globe Award and Academy Award for Best Foreign Language Film; and Golden Bear of Berlin International Film Festival. President Donald Trump’s 2016 “Muslim ban” on travel to and resettlement in the United States, which included Iranians, may have inspired some Academy voters to support the film to make their displeasure with this policy known.⁴⁴Mike Fleming, Jr., “Are Best Foreign Film Nominees Trumped by Politicized Voting?” Deadline, (February 16, 2017), https://deadline.com/results/#?q=%E2%80%9CAre%20Best%20Foreign%20Film%20Nominees%20Trumped%20by%20Politicized%20Voting?%E2%80%9D

Figure 12: Ra‛nā, who was afraid of being alone at home, went to the roof until ‛Imād arrived.

3 (2008): 529.

Figure 3: A still from Irtifāʻ-i past (Low Heights, 2002). Bitter experiences with censors helped to push Farhādī towards cinema. The fall leads to a court case in which he is accused of causing her miscarriage, or more specifically murdering her unborn child.

His 2016 film The Salesman, starring Shahab Hosseini and Taraneh Alidoosti, competed for the Palme d'Or at the 2016 Cannes Film Festival, and won two Awards Best Actor and Best Screenplay Award for Farhadi.

However, the facts (in part or whole) are foreshadowed throughout, highlighting another common narrative technique that Farhādī has employed.²⁶Saʿid Qotbizadeh, “Kālbudʹshikāfī-i Ilī,” Mahnāmah-yi Sīnimāyī-i Film 396 (June-July 2009): 106. Farhādī continued to make short fictional and documentary films during his teen years but there was little personal or family expectation that he would pursue a filmmaking career until his university entrance exam scores denied him entry to the medical track.

The seeming disappearance of the presumed owner encourages Rahīm, his sister, and Farkhundah to perversely fabricate proof of their good intentions but fruitlessly. The final scene depicts Nazar paying his mother-in-law the dowry. The only character seemingly changed by the day’s events is Rūhī, who is about to start her own married life carrying this painful secret.

He also directed TV series such as A Tale of a City (Dastane yek Shahr) and co-wrote the screenplay for Ebrahim Hatamikia's Low Heights (Ertefae Past). Shahr-i zībā (Beautiful City, 2004), Asghar Farhādī, accessed via https://www.youtube.com/watch?v=YCVlSKhGLDw (00:15:31)

Beautiful City likewise explores the stifling of young love by social circumstances and, more generally, the impossible moral dilemmas that material deprivation creates.

Ultimately, Rūhī denies an affair between Murtizā and Sīmīn in order to restore the domestic order and protect the reputation of Sīmīn, with whom she most sympathizes. The reinvention of filmmakers like Fellini and the emergence of fresh talents like Antonioni propelled Italian cinema in simultaneously new and old directions.

The Salesman continued this cosmopolitan turn in Iranian cinema with its quite pointed engagement with modern Western realist theater, specifically Arthur Miller’s Death of a Salesman.

In fact, the middle-class couple in the film moonlight as Willy and Linda Loman in a Tehran production of the play.