Thanks to its three latest films, "About Elly", 2009 (Silver Bear in Berlin), "A Separation", 2011 (Oscar for Best Foreign Film, Golden Bear and Prize of the Best Actor and Actress in Berlin), and "The Past", 2013 (Best Actress at Cannes), the iranian Asghar Farhadi has become one of the filmmakers of his country’s most well-known and celebrated internationally, his new film, "The Seller", had the prizes of Argument and Best Actor at Cannes, and is again firmly situated in the ecosystem of a narrative to the director. It is a story passed on in the midst of the urban middle class and educated of Iran, where a specific situation triggers a crisis between the protagonists, which leads them to react and reveal their true character, for the better as for the worse.
A couple formed by a teacher, actor and director, and by the woman, an actress, houses of emergency in an apartment lent by a colleague, after a small earthquake has damaged the building where they live. The house was once inhabited by a prostitute, and one day the actress opens the door to the street thinking it is the husband who arrives and goes to take a shower. But this is a customer of the previous tenant, who did not know the output of this, and that you have a brief physical confrontation with the woman, who takes her to the hospital and leaves you traumatized. Instead of complaining to the police, the husband decides to find the man, who left the van in the car park of the building, and to avenge himself personally. The couple is also rehearsing "Death of a traveling Salesman", Arthur Miller, and the incident is reflected in the piece.
the qualities that made the reputation of Asghar Farhadi are all on view in "The Seller": the argument meticulously calibrated (here, with a few pozinhos of police), the realism rigorous, the acute sense of observation of the human, the revelation of the psychology of the characters by their behavior and by how we relate with one another, the portrait in the background of day-to-day iranian. The tape only a failure in relation to previous ones because, on the one hand, Farhadi force, the note dramatic at the climax, to prolong and to reiterate the humiliation of the client by the husband of the actress, making the story collapse, without need, in the exaggerated melodramatic; and the other, the play within the film does not make a sense out there in addition to in terms of parallels with the intrigue central. The cast, with the excellent Shahab Hosseini and Taraneh Alidoosti to the head, and up to the participant to more secondary, is an example of the collective of the firm a sense of direction of the actors Asghar Farhadi.
Chris Pratt and Jennifer Lawrence are the main interpreters of this science-fiction movie from Morten Tyldum ("The Game of Imitation"), past a gigantic spaceship, the Avalon). There are five thousand people in hibernation, artificial, because it takes 120 years until the ship reaches its destination, a planet called Homestead II, very similar to Earth. In theory, the technology in which Avalon is based is infallible. Soon, traveling on auto-pilot, supervised by the computer. There are no shifts between the crew over the 120 years of the trip, the shields guards ensure that nothing unexpected will happen to the ship, that she is invulnerable to any cosmic accident on the route, and that no one will be awakened from their artificial sleep before its time. But for a technical failure, Jim Preston (Pratt), an engineer mechanical, wakes up and decides that, as expected, there are only a few months for the arrival on the Homestead II. Mistake. Jim was awake 90 years before planned. He is the only person to walk the board, except for Arthur, a "barman" android”.(Michael Sheen). More than a year later, desperation, and after agonizing for a long time about whether to have this right or not, Jim decides to wake up another passenger, Dawn (Jennifer Lawrence), a journalist and writer, by which they fell in love. But it says you have-if the treaty is also a technical problem. "Passenger" was chosen as the movie of the week by the Observer, and you can read the review here.
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