Iranian cinema peaked: the unforgettable final act of The Salesman

I ventured into the world of Iranian cinema in the year 2017 with the Ashgar Farhadi-directed Oscar-winning film A Separation. I remember enjoying the film and performances, especially that of the child actors. But, to be honest, I was too young to understand such kind of films. If anyone had said that to me in 2017, I would have become defensive and tried to convince them of my maturity and understanding. With time, I realized — I was not, am not, and will not be “mature”. And I really don’t want to be anymore.

After A Separation, I watched Children of Heaven by Majid Majidi, and just like everyone else, it left me with a heavy heart. The beautifully crafted story of those innocent children left a lasting impact on my consciousness…and I felt pure for a while.

Last year, I decided to watch the second Oscar-winning film by Asghar Farhadi called The Salesman.

In all honesty, I was reluctant to watch it and had been postponing it for years. Though I never doubted the film’s caliber but by the year 2021, I had consumed too much of world cinema, and there were infinite options available on OTT platforms. The Salesman was far down my list.

It was a mistake!

Or maybe not

The Salesman is a riveting drama about a women who is assaulted by an intruder and a man who is obsessed with finding his wife’s assaulter.

It’s fascinating to me that a film so tense, layered, engaging, and thought-provoking could be summed up in a single line. But I guess that complements the clarity of the screenwriter and the filmmaker.

My purpose here is not to review the film or present any socio-political analysis. I just want to share my experience of watching it, especially the final act.

The salesman takes time to establish the characters, and he uses visual and literary symbols. Theatre and literature are very important aspects of the film. Our main characters, Emad and Rana, are artists, and they are relatable and likable.

Rana is found injured in her bathroom one evening by her neighbors. When Emad reaches the hospital, he finds that she was assaulted by an intruder. The details of the assault are concealed from the audience, and no police complaint is filed, as society is a bigger threat to Rana than the intruder.

In the course of the film, we get to see the way Rana deals with the post-traumatic effects of the assault and how the couple copes with the circumstances. But, in a very peculiar move by the writer, we are made to follow the journey of Emad. A husband who is now obsessed with finding his wife’s assaulter. So much so that his life is completely consumed by that mission.

The brilliant final act

As mentioned earlier, the last thirty minutes of the film are the reason why it won the Oscar. It is probably one of the best final acts of any film ever. And the amazing part is that the whole act is set inside a single space. The same apartment where the intruder assaulted Rana becomes the stage for the confrontation between the couple and the assaulter. But things are not as simple as they seem, just like human nature. It's not entirely black, and not entirely white. And in between that, Farhadi crafts a perfect piece of dramatic final act. A masterclass in writing, staging, directing, and acting. The setting is perfect for the highly competent actors to showcase the worst and best of human nature with their beautiful, expressive eyes and effortless acting.

There can be a lengthy socio-political analysis of the film, as many other great pieces of art, but the film is open for discussion and interpretation. I watched the film at an age where I could understand some part of it, so maybe it was not a mistake to watch it later in my twenties.

I suggest the readers watch the film if they want to watch a true drama that’s gripping, tense, and would keep them on the edge of their seats with its sheer power of dramatic storytelling. Without any fancy modern filmmaking techniques. Go for it…

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