Mundo do Cinema, by Jr. Schutt Costa . 27/12/2013

Mundo do Cinema, by Jr. Schutt Costa . 27/12/2013
27 dezembro 10:12 2013 Imprimir

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“THE PAST” ****

Asghar Farhadi’s new film uses many shots where his characters are divided thru a barrier of transparent glass, creating a sense of unknown circumstances, a lack of communication and understanding of the surrounding. This wonderful technique of silent anxiety represented in the film, appears as it opens with a shot on the interior of an airport where she comes to receive her Iranian ex-husband. Farhadi has a precious sense for family tales. He enthralled audiences and got an Oscar just last year for the marvelous domestic dispute of “A Separation” , and once again brings a powerful study of family ties, and despite the film didn’t make the cut for the Foreign entry, it still has a good chance to get an Oscar nod in other categories. The aspects he designs to punctuate the narrative attaching a series of twists within the powerfully dramatic and investigative story confirms the mastery of a revelatory storyteller.

The camera witnesses the turmoil involving a dysfunctional family dealing with tragedy and emotional transitions. Its eyes catch the trouble of the entire group of relatives, from the youngest child learning to adapt as a new member, to the oldest who’s the estranged visitor. Even as the two people who met at the airport are the core of the film, each individual play a decisive role in Farhadi’s look at a disturbed family, as part of what they’re trying to preserve the most: someone to care for. Marie and Samir are in a relationship and need Ahmad to come to France to sign the divorce papers. She has two daughters from previous marriages while Samir and his son are coping with his wife’s coma. The teenager daughter is determined to sabotage her mother’s intentions to re-marry, starting a tumultuous and painful experience for all of them, facing lies, secrets, and things that resurge from the past.

The director who also co-wrote the screenplay creates a tense, devastating and realistic depth with the class and intriguing language of an investigation on family, human values and social issues, looking inside of these relatives whose careless consideration have brought desperation upon them. Ahmad arrives as the mediator: he’s the stranger who’s capable of showing them how to face their mistakes in order to find relief. This aspect on his personality is personified over Marie, who certainly didn’t forget him and believes he could help her save her future. Farhadi analyzes every detail carefully, precisely painting the divergences of each one’s point of view, as the investigation unfolds. The performers are magnificent, Tahar Rahim proves he’s Europe’s best actor, Ali Mosaffa has an exhilarating suspicious charisma and Bérénice Bejo is the French Actress who deserves an Oscar nomination. She gives a tour-de-force performance, a mysterious and vulnerable woman who is trying to survive a stormy season and guarantee a secure home. A remarkable great work of courageous drama and innovative cinematic vision. Happy New Year!

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