Asghar Farhadi … imprison you, shackle you and test your patience


A few days ago, on the 7th of this month, Asghar Farhadi (1972) celebrated his 48th birthday. Farhadi is one of the great contemporary Iranian directors, and his films are always presented in the most important international festivals. But before that, precisely before 2009, he presented his movie “About Eli”, which earned him international acclaim and awarded him the Silver Bear Award at the “Berlin Festival” (after which he presented many films and won many prizes, such as the movie “Breakaway” (2011), which won the Golden Bear Award). At “Berlin Festival” and Oscar Best Foreign Film). Before this popularity, he made three films, and I will use the opportunity to talk about one of them that I personally consider as the best in his career, which is “Wednesday Fireworks Games” (2006).The Iranian director imprisons you inside his films, sitting you tied up in front of the events, moving the narration slowly and letting the events flow smoothly. It tests your patience and judgments on people, not everything comes in one go, but gives you space to think. But at the same time, it does not make you homeless and analyze your whims, but turns you quickly, not only with every scene but with every phrase that is said. He does not reveal all his cards, to keep you waiting for what awaits you. It brings you real characters to the extreme, living human drama and real-world problems that happen as if you were watching it on your doorstep.
Farhadi is not satisfied with the realism of his films and his characters. Rather, he brings us a movie with the name of the day on which the events of his story “Fireworks of Wednesday” occur (or (in Persian: چharshinbeh Suri)). An occasion in which to celebrate the last Wednesday before the Persian New Year (Nowruz). A movie set in one day in Tehran, inside a residential complex. My soul (Trana Ali Dosti) is a bride one week after her wedding, she goes to work as a housekeeper for a rich family: Majda (Hadrani’s gift) The housewife lives in doubt that her husband Murtada (Hamid Farrakh ‌نژاد) may be related to a second woman, and the wife’s suspicions are hovering over Her neighbor Simin (Banti Bahram), who runs a beauty salon.
Farhadi takes advantage of the dilemmas between right and wrong and conflict in the search for the truth in a fruitful and surprising way. It presents the story from various perspectives, but without diving into details and in a stable narration, it strikes a balance between suspense, mystery and drama. The film makes a captivating experience with weaving the story on several layers. He challenges us and confronts our morals, doubts, and judgments about the characters. Quickly and without prelude, we find ourselves with my soul in an uneasy position. We walk with her in a minefield, in the midst of the internal conflict between the spouses, in a rough sea that she sailed to without knowing its reasons and implications. Love, hate, truth and lies. All parties are concerned with what is happening. The subjects of lying, deception, marriage, and treachery in the eyes of a young woman on the brink of marriage, which makes her belief in this institution shaken and destroyed. We sit as observers and share our feelings and reactions like my soul in a heavy family struggle. Between a woman killed by suspicion and jealousy, a husband sees his marriage broken like a glass of a house, and a child who does not know what is happening. All this in a society where all parties are ruthless. Religious and social dilemmas. Family problems in conservative societies turn from a small problem into a major crisis in which family members interfere, and everyone takes a party without knowing the full picture. Murtada finds himself on the defendant’s website. As for her glory, and if her doubts are valid, she finds herself before the judgments of others about the actions and emotions that she gave her that contributed to her husband’s betrayal. Firecrackers on the outside and explosions on the inside. Sounds of joy echo in the street, and chants of doubt and broken feelings rise inside. The movie starts with questions in your head and hopes to find satisfactory answers. Is Morteza angry with his glory? Does he betray his wife? Why doubts about neighboring Semin? What effect does all this have on the family and the young woman who finds herself involved in the issue and responsible for what is happening? Is what is going on in the mind of glory illusions? Will the family continue or be shattered?


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