The Past on France 4: the art of silence at Farhadi (review)
A powerful drama, between Tehran and Paris, with Bérénice Bejo and Tahar Rahim.
Asghar Farhadi formed a five-star French cast (Isabelle Huppert, Virginie Efira, Vincent Cassel…) for Side storieshis latest film currently in theaters after its presentation in competition at Cannes. 13 years ago, the Iranian filmmaker was already filming in France The Pasta drama carried by Bérénice Béjo, Tahar Rahim and Ali Mofassa. A work acclaimed by First during its cinema release and to be (re)watched this Thursday evening on France 4 (and already available in streaming on France.TV). Our review:
The art of silence at Farhadi… Since About Elly And A separationhis two previous feature films, we know that the most international of Iranian filmmakers has no equal when it comes to building intimate dramas that are both Kafkaesque and suspenseful, strewn with multiple fragmentation bombs. With The Pasthis first film shot in France, it goes even further, the secrets imploding into each other like Russian dolls until the final sequence shot, a real weapon of mass destruction that will bring you to your knees.
In Farhadi’s cinema, everything is thought out and weighed, even the bandage put on Fouad’s finger by Ahmad at the very beginning of the film, then removed at the end by Samir, a delicate way of signifying the handover between the two men. The formidable script mechanics, including the very intelligent choice of ellipses, are coupled with relentless staging. The further back in time, the more the characters physically retrace their steps.
Farhadi invents a choreography of regret that questions the viewer at all times: When is it “too late”? When can we no longer go back? All the actors (Ali Mosaffa and the reassuring softness of his voice act like an anxiolytic), children included, perfectly combine this Pass not simple which will gradually decompose, before recomposing itself, perhaps, before our eyes.
Stephanie Lamome
