Iranian director Asghar Farhadi has a genuine talent for depicting moral dilemmas. He specializes in presenting domestic conflicts within an intricate narrative. They highlight ethical stakes informed by social class, gender, and religion. I’ve been a big fan beginning with his fourth movie, About Elly (2009). I’ve seen everything of his since. A Separation (2011) came after and it was a flawless masterpiece. The Past (2013) and The Salesman (2016) followed. Though not as spectacular, they were each impeccable achievements that excelled at extracting raw emotional drama. I’m not the only one who thinks so. Twice his pictures have won the Academy Award for Best Foreign Language Film (A Separation, The Salesman). His latest is Everybody Knows and it finds the director functioning within the same milieu of interpersonal relationships. It’s a solid if unexceptional, addition to his filmography.
Asghar Farhadi continues to test the universality of his themes in various countries. In The Past, he explored his subjects with a French-language drama. In Everybody Knows, Farhadi has made a Spanish movie, a language he doesn’t speak. Yet this production just might be Farhadi’s most accessible creation. For one thing, it reunites Oscar winners Javier Bardem (No Country for Old Men) and Penélope Cruz (Vicky Cristina Barcelona). The real-life married couple has now done nine features together. The two have always had palpable chemistry. This time, it is the actors, not the screenplay that is the main reason to see the work of Farhadi.
The is a story about a secret that supposedly “everybody knows”. That confidential information is first discussed by teen wild child Irene (Carla Campra) and her friend Felipe (Sergio Castellanos). Suddenly Irene goes missing. Her mother Laura (Penélope Cruz) and husband Alejandro (Ricardo Darín) are distraught. A subsequent investigation is carried out entirely by the members of the extended clan who had been attending the wedding of Laura’s sister (Inma Cuesta). I’m being particularly vague with the details because part of the fascination is uncovering the layers as developments happen. Farhadi’s cinema is all about the art of human relationships. What he does is not easy. For the first time, however, his craft feels overly labored to serve developments that culminate in a less satisfying end. A lot of things are considered as the past is dredged up which illuminates the history of these people. The dynamics of Laura’s family are brought to light. It’s just that the reveals aren’t revelatory. The dialogue is dense and excessive. It gets cluttered in a tangled web within a more traditional account. It ultimately descends into the melodrama of a soap opera.
03-08-19
4 Responses
As a huge Farhadi fan I’m still waiting for this to show somewhere near me. I genuinely detest release schedule systems.
I understand your frustration. I’ve wanted to see films that were inaccessible to me too.
I wanted more. It was very good, but nothing hinted at what the ending would be. That was disappointing. 3 1/2 stars
This filmmaker has done some great work, so somewhat disappointed by the routine story.