Director: Asghar Farhadi; Screenwriter: Asghar Farhadi; Starring: Bérénice Bejo, Tahar Rahim, Ali Mosaffa, Pauline Burlet, Elyes Aguis; Running time: 130 mins; Certificate: 12A
After picking up an Oscar in 2012 for A Separation, Iranian writer/director Asghar Farhadi returns to similar ground, exploring the domestic tensions in a household where traditional values are challenged. Here, the setting is France where Bérénice Bejo puts away the jazz hands that grabbed our attention in The Artist, as Marie, a single mother caught between two Arab men.
Tahar Rahim, who commanded the screen in A Prophet (less so in big budget drama Black Gold) is on typically brooding form as Marie's live-in lover Samir. However, they're beyond the honeymoon phase. She has trouble disciplining his little boy Fouad (Elyes Aguis) and her eldest daughter of two, Lucie (Pauline Burlet) mooches around the house disapprovingly. Added to this mix is Marie's soon-to-be ex-husband Ahmad (Ali Mosaffa...
After picking up an Oscar in 2012 for A Separation, Iranian writer/director Asghar Farhadi returns to similar ground, exploring the domestic tensions in a household where traditional values are challenged. Here, the setting is France where Bérénice Bejo puts away the jazz hands that grabbed our attention in The Artist, as Marie, a single mother caught between two Arab men.
Tahar Rahim, who commanded the screen in A Prophet (less so in big budget drama Black Gold) is on typically brooding form as Marie's live-in lover Samir. However, they're beyond the honeymoon phase. She has trouble disciplining his little boy Fouad (Elyes Aguis) and her eldest daughter of two, Lucie (Pauline Burlet) mooches around the house disapprovingly. Added to this mix is Marie's soon-to-be ex-husband Ahmad (Ali Mosaffa...
- 3/28/2014
- Digital Spy
A remarkably grounded French-Iranian drama about a broken family trying to mend; unexpectedly riveting, thanks in part to one of 2013’s best ensembles. I’m “biast” (pro): loved A Separation, adore Tahar Rahim
I’m “biast” (con): nothing
(what is this about? see my critic’s minifesto)
A woman meets a man at an airport. Their greeting is familiar but not romantic… or maybe what we’re seeing is strained romance? Who are they to each other? As she drives him to her home and gets him settled in for a stay, we gradually come to appreciate that they were once a couple, but he — Ahmad (Ali Mosaffa) — ran back home to Iran and left her — Marie (Bérénice Bejo: Populaire, The Artist) — in the lurch, and now she has asked him for a divorce, which is why he has returned, for the legal proceedings. She wants to...
I’m “biast” (con): nothing
(what is this about? see my critic’s minifesto)
A woman meets a man at an airport. Their greeting is familiar but not romantic… or maybe what we’re seeing is strained romance? Who are they to each other? As she drives him to her home and gets him settled in for a stay, we gradually come to appreciate that they were once a couple, but he — Ahmad (Ali Mosaffa) — ran back home to Iran and left her — Marie (Bérénice Bejo: Populaire, The Artist) — in the lurch, and now she has asked him for a divorce, which is why he has returned, for the legal proceedings. She wants to...
- 3/26/2014
- by MaryAnn Johanson
- www.flickfilosopher.com
I haven't forgotten about The Film Bitch Awards, also known as "Nathaniel's Ballot" that once grand internet tradition (14 years now, Jesus!) that has been eroded by my time management problems. But no more. I'm turning over new leaves in 2014, you'll see, and so we begin now with the catch-ups.
And now 43 words it gives me great pleasure to type...
Elyes Aguis Kyle Chandler Bradley Cooper Chris Cooper Bruce Dern Leonardo DiCaprio Paul Eenhoorn Chiwetel Ejiofor Michael Fassbender James Franco James Gandolfini Jake Gyllenhaal Tom Hanks Sergio Hernandez Oscar Isaac Hugh Jackman Jared Leto Matthew McConaughey Mads Mikkelsen Tye Sheridan and Keith Stanfield
And that's just the cream that rose to the top for yours truly when it came time to sort out my thoughts on the best performances by men this year at the cinema. Though supporting actor was lean, the leading men more than made up for it. It...
And now 43 words it gives me great pleasure to type...
Elyes Aguis Kyle Chandler Bradley Cooper Chris Cooper Bruce Dern Leonardo DiCaprio Paul Eenhoorn Chiwetel Ejiofor Michael Fassbender James Franco James Gandolfini Jake Gyllenhaal Tom Hanks Sergio Hernandez Oscar Isaac Hugh Jackman Jared Leto Matthew McConaughey Mads Mikkelsen Tye Sheridan and Keith Stanfield
And that's just the cream that rose to the top for yours truly when it came time to sort out my thoughts on the best performances by men this year at the cinema. Though supporting actor was lean, the leading men more than made up for it. It...
- 1/14/2014
- by NATHANIEL R
- FilmExperience
Filmgoers may bash the January to October movie fare for being boisterous, obnoxious, directed by Michael Bay, etc. However, even during the supposedly tasteful sanctuary that is the award season of November to January, those films themselves can be lumped together to sponsor their own lack of subtlety.
That is not to say these films aren’t as good as they are, but only that after seeing numerous movies which could be weaseled into sarcastic “Tropic Thunder” previews (looking at you, “Saving Mr. Banks”), the yearly accusation of certain films “trying too hard” to become “Oscar bait” proves to be a “Transformers”-like inundation in itself.
Rating: 4.0/5.0
In the second big weekend of 2014 arrives “The Past,” a leftover from last year but one just opening on Friday in Chicago. For those who are looking for something that doesn’t “try too hard,” but with an even bigger pay-off on a more humbled scale,...
That is not to say these films aren’t as good as they are, but only that after seeing numerous movies which could be weaseled into sarcastic “Tropic Thunder” previews (looking at you, “Saving Mr. Banks”), the yearly accusation of certain films “trying too hard” to become “Oscar bait” proves to be a “Transformers”-like inundation in itself.
Rating: 4.0/5.0
In the second big weekend of 2014 arrives “The Past,” a leftover from last year but one just opening on Friday in Chicago. For those who are looking for something that doesn’t “try too hard,” but with an even bigger pay-off on a more humbled scale,...
- 1/10/2014
- by adam@hollywoodchicago.com (Adam Fendelman)
- HollywoodChicago.com
Ahmad (Ali Mosaffa) has made the trip from Iran to Paris for the first time in four years to finally sign divorce papers, officially ending his marriage to Marie (Berenice Bejo) at her request. Upon his arrival at the airport, Marie sees him through a thick pane of glass. She smiles, he shrugs. The airline has lost his bag and will have to send it to him the following day. They communicate by mouthing words and using hand gestures. One understands the other, but the metaphor is quite clear. At this moment in the film we know nothing about these two people. They could be happily married and he returning home from a business trip and she simply picking him up, but writer/director Asghar Farhadi and cinematographer Mahmoud Kalari's visual representation of the invisible barrier between the two weighs heavy on the rest of the film. Farhadi's The...
- 12/20/2013
- by Brad Brevet
- Rope of Silicon
The Past, Iran's Submission for the Academy Award Nomination for Best Foreign Language Film. U.S. : Sony Pictures Classics. International Sales Agent: Memento Films International
Comparing the Academy Award-winning A Separation to Asghar Farhadi’s French-language film The Past, his first film outside of his native Iran, is like comparing two equally beautiful diamonds cut differently by the same master jeweler. The only reasonable way to put them on the same ground is to note the masterful caliber of storytelling achieved once again by the Iranian auteur. It is hard to think of any other working writer/director that has such a perfectly calibrated talent for creating tension out seemingly ordinary circumstances. Days after watching his latest work The Past its powerful themes and even more riveting mystery still linger refusing to be forgotten. Continuing with his fervent interest in failed relationships Farhadi proves that in his stories, just like many times in life, the end is actually only the beginning.
Persuaded by his wife Marie (Bérénice Bejo) and ready to bring his life in France to a conclusion, Ahmad (Ali Mosaffa) returns from Tehran to Paris to finalize their divorce after living apart for four years. Upon his return he is invited by Marie to stay at the house they used to share with the pretense that her daughters Lucie (Pauline Burlet) and Léa (Jeanne Jestin) want to see him. He soon realizes Marie has someone else in her life, a young man named Samir (Tahar Rahim) who now lives in the house with his son Fouad (Elyes Aguis). Desperate for help, Marie needs Ahmad to talk to Lucie, a teenager, whose rebellious behavior and aversion towards Samir she can’t understand. Despite having no children as product of their marriage Ahmad is the only father figure Lucie can trust, and the only person to whom she will reveal the secrets that surround Marie’s relationship with Samir.
Involuntarily thrown into the family’s turmoil, Mosaffa’s character is a bystander who is trying to figure out what his role in the situation is. He acts as the diplomatic ambassador between all parties because he cares for the girls, but he can’t ignore Marie’s selfish decisions and her ulterior motives for needing his presence. Bejo is impeccable, contained at first but effectively explosive as her meticulously constructed life starts to fall apart when the morality of her romance with Samir is questioned. She can’t be judged for falling in love again, but what if that love became a dangerous catalyst for another person’s demise? Is she responsible for following her desires in spite of the damage? In turn, Samir's perspective takes over the last part of the film as he attempts to place the responsibility of his actions on someone else, only to discover that the past he thought would never return has been luring in the background.
It is precise to avoid revealing crucial details about the film’s twists and turns, as each of them comes at a specific time determined by the artist to infuse this intense drama with an enthralling quality that keeps the audience guessing. From behind windows and doors the viewer is made aware of his condition as a silent witness to the characters’ predicaments. Inaudible conversations add to the suspenseful mood that permeates the film only comparable to that of a high-octane thriller. Lead by an entire cast of magnificent actors, this a film that captures one’s attention instantly and only asks the viewer to be willing to be guided, and misguided, through the lives of its imperfect characters. Farhadi also plays with the viewer’s expectations and banks on his protagonists’ hesitation. Just when it seems like a secret will never be told, the master flips the story around, unveils said mysterious piece of information, and then outstandingly takes it away by setting up an even more important one. Evidently, this is the work of one of the most achieved dramatic artists in World Cinema today.
Farhadi crafts a story about the past entirely told in the present. Refusing to use flashbacks or to fully reveal the events that lead to what unfolds on screen, his drama reaches higher stakes as the characters faults are revealed one by one in an inconspicuous manner. Plagued with red herrings and half-truths there is no clear villain or unquestionable motivation. Written with full knowledge and command of the human condition, the director has scored another masterpiece of grand emotional value and keeps on pushing the boundaries of storytelling. His subjects are never left unaccountable for their actions or free of consequences, yet, for all the terrible outcomes of their past mistakes Farhadi offers them a new redemptive chance. He allows them to forgive, but not to forget. Undoubtedly, The Past is one of the best films of the year.
Read more about all the 76 Best Foreign Language Film Submission for the 2014 Academy Awards...
Comparing the Academy Award-winning A Separation to Asghar Farhadi’s French-language film The Past, his first film outside of his native Iran, is like comparing two equally beautiful diamonds cut differently by the same master jeweler. The only reasonable way to put them on the same ground is to note the masterful caliber of storytelling achieved once again by the Iranian auteur. It is hard to think of any other working writer/director that has such a perfectly calibrated talent for creating tension out seemingly ordinary circumstances. Days after watching his latest work The Past its powerful themes and even more riveting mystery still linger refusing to be forgotten. Continuing with his fervent interest in failed relationships Farhadi proves that in his stories, just like many times in life, the end is actually only the beginning.
Persuaded by his wife Marie (Bérénice Bejo) and ready to bring his life in France to a conclusion, Ahmad (Ali Mosaffa) returns from Tehran to Paris to finalize their divorce after living apart for four years. Upon his return he is invited by Marie to stay at the house they used to share with the pretense that her daughters Lucie (Pauline Burlet) and Léa (Jeanne Jestin) want to see him. He soon realizes Marie has someone else in her life, a young man named Samir (Tahar Rahim) who now lives in the house with his son Fouad (Elyes Aguis). Desperate for help, Marie needs Ahmad to talk to Lucie, a teenager, whose rebellious behavior and aversion towards Samir she can’t understand. Despite having no children as product of their marriage Ahmad is the only father figure Lucie can trust, and the only person to whom she will reveal the secrets that surround Marie’s relationship with Samir.
Involuntarily thrown into the family’s turmoil, Mosaffa’s character is a bystander who is trying to figure out what his role in the situation is. He acts as the diplomatic ambassador between all parties because he cares for the girls, but he can’t ignore Marie’s selfish decisions and her ulterior motives for needing his presence. Bejo is impeccable, contained at first but effectively explosive as her meticulously constructed life starts to fall apart when the morality of her romance with Samir is questioned. She can’t be judged for falling in love again, but what if that love became a dangerous catalyst for another person’s demise? Is she responsible for following her desires in spite of the damage? In turn, Samir's perspective takes over the last part of the film as he attempts to place the responsibility of his actions on someone else, only to discover that the past he thought would never return has been luring in the background.
It is precise to avoid revealing crucial details about the film’s twists and turns, as each of them comes at a specific time determined by the artist to infuse this intense drama with an enthralling quality that keeps the audience guessing. From behind windows and doors the viewer is made aware of his condition as a silent witness to the characters’ predicaments. Inaudible conversations add to the suspenseful mood that permeates the film only comparable to that of a high-octane thriller. Lead by an entire cast of magnificent actors, this a film that captures one’s attention instantly and only asks the viewer to be willing to be guided, and misguided, through the lives of its imperfect characters. Farhadi also plays with the viewer’s expectations and banks on his protagonists’ hesitation. Just when it seems like a secret will never be told, the master flips the story around, unveils said mysterious piece of information, and then outstandingly takes it away by setting up an even more important one. Evidently, this is the work of one of the most achieved dramatic artists in World Cinema today.
Farhadi crafts a story about the past entirely told in the present. Refusing to use flashbacks or to fully reveal the events that lead to what unfolds on screen, his drama reaches higher stakes as the characters faults are revealed one by one in an inconspicuous manner. Plagued with red herrings and half-truths there is no clear villain or unquestionable motivation. Written with full knowledge and command of the human condition, the director has scored another masterpiece of grand emotional value and keeps on pushing the boundaries of storytelling. His subjects are never left unaccountable for their actions or free of consequences, yet, for all the terrible outcomes of their past mistakes Farhadi offers them a new redemptive chance. He allows them to forgive, but not to forget. Undoubtedly, The Past is one of the best films of the year.
Read more about all the 76 Best Foreign Language Film Submission for the 2014 Academy Awards...
- 12/19/2013
- by Carlos Aguilar
- Sydney's Buzz
The Past (Le passé) Sony Pictures Classics Reviewed for Shockya by Harvey Karten. Data-based on RottenTomatoes.com Grade: B+ Director: Asghar Farhadi Screenwriter: Asghar Farhadi Cast: Bérénice Béjo, Tahar Rahim, Ali Mosaffa, Pauline Burlet, Elyes Aguis, Jeanne Jestin, Sabrina Ouazani, Babak Karimi, Valeria Cavalli, Eleonora Marino Screened at: Sony, NYC, 8/21/13 Opens: December 20, 2013 If this were one of the abundant numbers of sitcoms about family dysfunction, the moral might be something as vacuous as “Don’t mess with married men.” But “The Past” is a serious drama written and directed by Asghar Farhadi, whose previous entry, “A Separation,” looks closely at a family that must make a [ Read More ]
The post The Past Movie Review appeared first on Shockya.com.
The post The Past Movie Review appeared first on Shockya.com.
- 12/18/2013
- by Harvey Karten
- ShockYa
Title: The Past Director: Asghar Farhadi Starring: Tahar Rahim, Bérénice Béjo, Ali Mosaffa, Pauline Burlet, Elyes Aguis, Jeanne Jestin, Sabrina Ouazani, Babak Karmi, Valeria Cavalli. ‘The Past’ is Iran’s official selection for the 86th Academy Award for Best Foreign Language Film and was officially selected in 2013 at the Cannes Film Festival, the Telluride Film Festival and the Toronto Film Festival. The female protagonist, Bérénice Béjo won the Best Actress Award in Cannes. Just like in Farhadi’s Oscar-winning ‘A Separation,’ his latest film is a bewitchingly sculpted family melodrama in which the end of a marriage is solely the trigger that leads to old and new crossroads. After four years [ Read More ]
The post The Past Movie Review appeared first on Shockya.com.
The post The Past Movie Review appeared first on Shockya.com.
- 12/9/2013
- by Chiara Spagnoli Gabardi
- ShockYa
Sony Pictures Classics has new clips for 2 of its releases in The Past and Tim's Vermeer. The Past is a drama is directed by Asghar Farhadi from the script by Massoumeh Lahidji and Farhadi, and stars Bérénice Bejo, Tahar Rahim, Ali Mosaffa, Pauline Burlet, Elyes Aguis, Jeanne Jestin, Sabrina Ouazani, Babak Karimi and Valeria Cavalli. The Past follows an Iranian man who deserts his French wife and two children to return to his homeland. His wife sparks up a new relationship, the reality of which hits her husband when he receives a request for a divorce.
- 12/4/2013
- Upcoming-Movies.com
A second poster has arrived for The Past directed by Asghar Farhadi of A Separation. The drama stars Tahar Rahim, Bérénice Bejo and Ali Mosaffa. The Past (Le passé) follows an Iranian man who deserts his French wife and two children to return to his homeland. His wife sparks up a new relationship, the reality of which hits her husband when he receives a request for a divorce. Also in the cast of the film written by MAssoumeh Lahidji and Farhadi are Pauline Burlet, Elyes Aguis, Jeanne Jestin, Sabrina Ouazani, Babak Karimi and Valeria Cavalli.
- 10/31/2013
- Upcoming-Movies.com
Exciting Iranian director Asghar Farhadi of Oscar-winning A Separation (2011) returns with French drama The Past (Le passé) that again touches on the remnants of divorce and its effects on the family. Far from being just an intense and deeply emotional experience – as most French relationship dramas tend to be, this one weaves in a crime mystery for added measure and intrigue, if the stroppy teen and even stroppier mother get too much to bare. Co-writer Farhadi still links the story to his homeland, with Iranian actor Ali Mosaffa in a lead role as Iranian national Ahmad.
Ahmad (Mosaffa) returns to the outskirts of Paris, France to finalise divorce proceedings with his turbulent French wife Marie (The Artist’s Bérénice Bejo) who has not made arrangements for his stay this time as there have been other no-shows. Added to which, Marie asks Ahmad to talk to her estranged teen daughter Lucie...
Ahmad (Mosaffa) returns to the outskirts of Paris, France to finalise divorce proceedings with his turbulent French wife Marie (The Artist’s Bérénice Bejo) who has not made arrangements for his stay this time as there have been other no-shows. Added to which, Marie asks Ahmad to talk to her estranged teen daughter Lucie...
- 10/20/2013
- by Lisa Giles-Keddie
- HeyUGuys.co.uk
Weirdest Cannes best actress win"
Nick whispered to me as the end credits unspooled on Asghar Farhadi's The Past. Co-sign. It's not that Berenice Bejo, who was charming in her international breakthrough in The Artist, is not a good actress and she's certainly a beauty. But at least in the context of The Past she's a blank one. Despite the plethora of information writer/director Asghar Farhadi (A Separation) keeps sending us -- e-mails are an enormous plot point -- I'm still waiting to hear anything substantial about the character of Marie, Bejo's woman at its center.
Yes yes, we learn that she still loves her ex-husband Ahmad (Ali Mosaffa), has troubles with her teenage daughter Lucie (Pauline Burlet, wonderfully cast) and is cagey about her new relationship to Samir (Tahar Rahim). But we learn all of this very quickly in the movies promising opening scenes in which Marie...
Nick whispered to me as the end credits unspooled on Asghar Farhadi's The Past. Co-sign. It's not that Berenice Bejo, who was charming in her international breakthrough in The Artist, is not a good actress and she's certainly a beauty. But at least in the context of The Past she's a blank one. Despite the plethora of information writer/director Asghar Farhadi (A Separation) keeps sending us -- e-mails are an enormous plot point -- I'm still waiting to hear anything substantial about the character of Marie, Bejo's woman at its center.
Yes yes, we learn that she still loves her ex-husband Ahmad (Ali Mosaffa), has troubles with her teenage daughter Lucie (Pauline Burlet, wonderfully cast) and is cagey about her new relationship to Samir (Tahar Rahim). But we learn all of this very quickly in the movies promising opening scenes in which Marie...
- 9/8/2013
- by NATHANIEL R
- FilmExperience
Ahmad (Ali Mosaffa) has made the trip from Iran to Paris for the first time in four years to finally sign divorce papers, officially ending his marriage to Marie (Berenice Bejo) at her request. Upon his arrival at the airport, Marie sees him through a thick pane of glass. She smiles, he shrugs. The airline has lost his bag and will have to send it to him the following day. They communicate by mouthing words and using hand gestures. One understands the other, but the metaphor is quite clear. At this moment in the film we know nothing about these two people. They could be happily married and he returning home from a business trip and she simply picking him up, but writer/director Asghar Farhadi and cinematographer Mahmoud Kalari's visual representation of the invisible barrier between the two weighs heavy on the rest of the film. Farhadi's The...
- 5/17/2013
- by Brad Brevet
- Rope of Silicon
Heavy, Heavy Hangs: Farhadi’s Latest a (mostly) Worthwhile Endeavor
For his first film made outside his native country, Iranian director Asghar Farhadi unveils his latest exercise in domestic unrest with the French language The Past. Following hot on the heels of his critically acclaimed 2011 film, A Separation, anticipation has been high, and Farhadi nearly succeeds in equaling the compelling portrait of miscommunication and misunderstanding he has so brilliantly wrought in his previous film. Once again beginning with a couple on the verge of severing ties (though this time the separation has calcified into divorce), intertwining character arcs unveil an overly complicated scenario that unfortunately brings us to a finale that seems a bit little too late.
Ahmad (Ali Mosaffa) has returned to Paris from Tehran seemingly to grant his ex-wife Marie’s (Berenice Bejo) request to divorce. While his presence wasn’t necessarily required, it seems they intend on finally ending on good terms,...
For his first film made outside his native country, Iranian director Asghar Farhadi unveils his latest exercise in domestic unrest with the French language The Past. Following hot on the heels of his critically acclaimed 2011 film, A Separation, anticipation has been high, and Farhadi nearly succeeds in equaling the compelling portrait of miscommunication and misunderstanding he has so brilliantly wrought in his previous film. Once again beginning with a couple on the verge of severing ties (though this time the separation has calcified into divorce), intertwining character arcs unveil an overly complicated scenario that unfortunately brings us to a finale that seems a bit little too late.
Ahmad (Ali Mosaffa) has returned to Paris from Tehran seemingly to grant his ex-wife Marie’s (Berenice Bejo) request to divorce. While his presence wasn’t necessarily required, it seems they intend on finally ending on good terms,...
- 5/17/2013
- by Nicholas Bell
- IONCINEMA.com
Asghar Farhadi's follow-up to the Oscar-winning A Separation is a finely-crafted, sinewy drama that anatomises clotted and complex relationships
The Iranian film-maker Asghar Farhadi has come to Cannes with an absorbing, fascinating if slightly contrived movie, a loss-of-love-triangle starring Bérénice Bejo, Ali Mosaffa and Tahar Rahim. A Frenchwoman, Marie (Bejo), is attempting to resolve difficulties with her Iranian husband, Ahmad (Mosaffa), from whom she has been long separated, and to make a fresh start with a new partner, Samir (Rahim). The film revisits some themes of Asghar's breakthrough film A Separation, about the mortality of love, along with ideas about intimacy and domesticity in a world where the stepfamily is the norm. Here it is further supercharged with a grand tragic theme — the past and its pitiless grip on us. Farhadi shows the desperation and anger involved in trying to defy the past, to annul incorrect life-choices.
It is...
The Iranian film-maker Asghar Farhadi has come to Cannes with an absorbing, fascinating if slightly contrived movie, a loss-of-love-triangle starring Bérénice Bejo, Ali Mosaffa and Tahar Rahim. A Frenchwoman, Marie (Bejo), is attempting to resolve difficulties with her Iranian husband, Ahmad (Mosaffa), from whom she has been long separated, and to make a fresh start with a new partner, Samir (Rahim). The film revisits some themes of Asghar's breakthrough film A Separation, about the mortality of love, along with ideas about intimacy and domesticity in a world where the stepfamily is the norm. Here it is further supercharged with a grand tragic theme — the past and its pitiless grip on us. Farhadi shows the desperation and anger involved in trying to defy the past, to annul incorrect life-choices.
It is...
- 5/17/2013
- by Peter Bradshaw
- The Guardian - Film News
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