One could call this psychological thriller/drama from Iranian director Mani Haghighi a high concept film, as it very much hangs on an intriguing central premise. There have been several films which deal with the idea of doppelgangers, or even clones, and both of these ideas hover around this plot. However, Haghighi takes it one step further by asking us to imagine what would happen if a husband and wife both had doubles and, further, what would happen if these doubles interacted.
The English title is Subtraction but in some ways the dilemma of the film could be better expressed by multiplication. The complexities certainly multiply as the logic of the situation progresses.
The film starts slowly to give us time to get to know (and like) the lead female character Farzaneh (Taraneh Alidoosti, best known for her role in About Elly). She is a conscientious wife who is rather put-upon but who, nonetheless, does her best to keep her husband Jalal (Navid Mohammadzadeh) happy. Modern Iran is going through upheavals around the expectations of women’s roles and this real-life social issue is the subtext here.
Jalal seems to be ‘traditional’, in terms of taking his young wife for granted. When, early on in the film, she glimpses her doppelganger in the street, Jalal initially doesn’t believe her. Worse, he makes her feel stupid for raising it. As the film unfolds, events overtake his scepticism, and it becomes clear to both of them that they have this ‘other couple’ to navigate.
It would be entering spoiler territory to say much further, but the director has fun not only posing counterfactuals but mixing in the real-life consequences of this biologically-impossible premise.
Iranian cinema (or at least the films that we see in the West) are often strong in their moral mazes and the domestic politics and legal framing of gender relations. One thinks, for example, of the films by Asghar Farhadi whose A Separation won the foreign film Oscar. Subtraction goes in a slightly different direction, but it straddles its disparate genres well. Partly because of Alidoosti’s winning performance, we definitely feel for the impossible situation that the young wife is placed in. The script is good and the acting consistently engaging. Overall, it has some lapses in tone and logic, but it remains a highly watchable film well worth catching in a cinema.
فیلم سینمایی قهرمان به نویسندگی و کارگردانی اصغر فرهادی در چهل و ششمین جشنواره فیلم تورنتو به نمایش گذاشته می شود.
به گزارش رسانه هدهد کانادا، فیلم سینمایی قهرمان در بخش رویدادهای ویژه جشنواره فیلم تورنتو به نمایش گذاشته خواهد شد.
ساخته جدید و فارسیزبان فرهادی که با حضور امیر جدیدی، محسن تنابنده، فرشته صدرعرفایی و سارینا فرهادی در کنار جمعی از بازیگران بومی در شهر شیراز مقابل دوربین رفته در…
دانلود فیلم قهرمان اصغر فرهادی با لینک مستقیم رایگان از وبسایت ( فیلم تو ایرانی ) پخش میشود.
دانلود فیلم ایرانی قهرمان به کارگردانی اصغر فرهادی با کیفیت عالی و حجم کم
تماشای فیلم قهرمان اصغر فرهادی با نقد فیلم قهرمان اصغر فرهادی بصورت اختصاصی
دانلود فیلم سینمایی قهرمان امیر جدیدی و محسن تنابنده کامل رایگان
دانلود رایگان فیلم قهرمان اصغر فرهادی با عوامل بازیگران و خلاصه داستان فیلم قهرمان و تیزر فیلم قهرمان از سایت فیلم تو ایرانی منتشر شد.
"çünkü insana doğumundan ölümüne dek bir müzik eşlik eder. kimi insanların hareketli ve neşeli; kimilerinin ise durgun ve ara sıra coşkun oluşu, kafalarındaki müziğe ister istemez uymak zorunda oluşlarındandır." /kambur, şule gürbüz
عدم اکران فیلم «همه میدانند» اصغر فرهادی در ایران به دلیل پوشش بازیگران فیلم همه میدانند اصغر فرهادی به عنوان فیلم افتتاحیه پنجاهمین جشنواره بینالمللی فیلم آنتالیا به نمایش درآمد. فیلمی که گویا قرار نیست در ایران اکران شود. اصغر فرهادی در آیین نمایش فیلمش در جشنواره آنتالیا حضور پیدا کرد و بعد از آن به سوالهای مخاطبان پاسخ داد. مسئولان سینمای ترکیه از قبل اعلام کرده بودند که میخواهند جشنواره فیلم آنتالیا را تبدیل به یکی از مهمترین و معتبرترین جشنوارههای سینمایی بکنند و دعوت از اصغر فرهادی، کارگردان برنده دو جایزه اسکار اولین گام است. اما خبر مهم برای ما این است که فرهادی در جلسه پرسش و پاسخ بعد از نمایش فیلم اعلام کرد که امکان نمایش فیلم «همه میدانند» در ایران وجود ندارد. پیش از این ابراهیم داروغهزاده رییس اداره نظارت و ارزشیابی گفته بود که فرهادی فیلمش را برای اکران به ارشاد ارائه نداده و تقاضای اکران نکرده است و بعد از آن هم شنیده شد که در صورت تقاضای فرهادی با فیلم مثل بقیه فیلمهای خارجی برخورد خواهد شد. اما حالا خود فیلمساز میگوید که امکان نمایش فیلمش در ایران به دلیل پوشش بازیگران وجود ندارد و واقعا هم تقاضایی برای اکران نداده است. او گفت: «فیلم «همه میدانند» را بخاطر لباس بازیگران نمیتوانم در ایران نمایش بدهم.» پیشتر فیلم «کپی برابر اصل» عباس کیارستمی با وجود اینکه در ایتالیا فیلمبرداری شده بود و بازیگر نقش اولش هم ژولیت بینوش بود، بعد از کمی حرف و حدیث در گروه هنر و تجربه ایران اکران محدودی داشت. پنهلوپه کروز و خاویر باردم بازیگران فیلم اصغر فرهادی هستند. فیلم داستان زنی اسپانیایی را روایت میکند که سالهاست همراه همسر آرژانتینیاش در آرژانتین زندگی میکند و حالا برای عروسی خواهرش به اسپانیا بازگشته که اتفاقاتی باعث ایجاد بحرانهایی در زندگیاش میشود. فرهادی در ابتدای جلسه مطبوعاتی فیلم «همه میدانند» در آنتالیا گفت که در بدو رسیدن چمدانهایش را در فرودگاه گم کرده بود. فرهادی گفت: «من به دفتر رییس فرودگاه رفتم در حالی که او داشت پیامهای تلفن همراهش را چک میکرد. مشکلم را برای او توضیح دادم و فکر میکردم به من گوش میدهد اما او نشسته بود و به پیامهایش زل زده بود. این موقعیت در ذهن من الان تبدیل به یک داستان شده که ممکن است در آینده نزدیک آن را بسازم.» البته درنهایت گویا دو روز بعد چمدانهای فرهادی به دست او رسیده است. فرهادی در صحبتهایش گفت علیرغم اینکه مردم فکر میکنند شاید کار با بازیگران خارجی متفاوت باشد اما عشق و نفرت در همه جای جهان یکسان هستند. احساسات هم مشابه همدیگرند. فقط راهی که احساسات با آن ابراز میشود تفاوت دارد. اصغر فرهادی که پیشینه تئاتری دارد در این جلسه گفت که در آینده یک روز به صحنه تئاتر برخواهد گشت. تریلر فیلم همه میدانند را میتوانید از دکمه پایین دانلود کنید. دانلود تریلر فیلم همه میدانند اصغر فرهادی Let's block ads! (Why?)
به گزارش سحربالکان از محل سینمای روباز سارایوو میرساد پوریواترا مدیر جشنواره فیلم سارایوو که اصغر فرهادی را برای اکران فیلم همه می دانند همراهی می کرد استقبال پرشور و بی نظیر مردم سارایوو برای دیدن اخرین اثر اصغر فرهادی تحت عنوان “همه می دانند” در سینمای روباز سارایوو به گونه ای بود که تمام صندلی ها ( با ظرفیت 3هزار نفر ) نیم ساعت پیش از شروع نمایش پر شده است. فرهادی پیش از اکران فیلمش گفت: از اینکه در جشنواره فیلم سارایوو حضور یافتم خیلی خوشحالم. مدیر جشنواره داستان اغاز جشنواره فیلم سارایوو پس از دوران جنگ را برایم بیان کرده است و باید بگویم کار فوق العاده ای کرده اند. این استقبال باشکوه نشان دهنده علاقه مردم بوسنی نسبت به سینما و ریشه عمیق هنر و فرهنگ در انهاست
استقبال پرشور و بی نظیر مردم سارایوو از آخرین اثر اصغر فرهادی + عکس به گزارش سحربالکان از محل سینمای روباز سارایوو میرساد پوریواترا مدیر جشنواره فیلم سارایوو که اصغر فرهادی را برای اکران فیلم همه می دانند همراهی می کرد استقبال پرشور و بی نظیر مردم سارایوو برای دیدن اخرین اثر اصغر فرهادی تحت عنوان "همه می دانند" در سینمای روباز سارایوو به گونه ای بود که تمام صندلی ها ( با ظرفیت 3هزار نفر ) نیم ساعت پیش از شروع نمایش پر شده است. فرهادی پیش از اکران فیلمش گفت: از اینکه در جشنواره فیلم سارایوو حضور یافتم خیلی خوشحالم. مدیر جشنواره داستان اغاز جشنواره فیلم سارایوو پس از دوران جنگ را برایم بیان کرده است و باید بگویم کار فوق العاده ای کرده اند. این استقبال باشکوه نشان دهنده علاقه مردم بوسنی نسبت به سینما و ریشه عمیق هنر و فرهنگ در انهاست
Lady Jamileh Kharrazi: Congratulations to Asghar Farhadi
Lady Jamileh Kharrazi excerpts from the Forbes article by Luisa Kroll “New York Real Estate Billionaire Scores With Oscar Winning Iranian Film The Salesman.” The Iranian film The Salesman took home the Academy Award for best foreign-language film on Sunday night. In a statement read by Anousheh Ansari on behalf of the film’s director, Asghar Farhadi, he boycotted the awards ceremony to protest President Donald Trump’s January ban barring travelers from seven countries, including Iran. Cohen Media Group acquired the rights to the film in May at Cannes; the man behind the successful distribution business is Charles Cohen, a New York real estate billionaire who was also an executive producer of Frozen River, which received nominations in 2009. “It’s a great feeling of bringing an important film to American audiences from an accomplished and masterful director” said Cohen. This is Asghar Farhadi’s second Academy Award. He won in this category for 2012 for “A Separation.” Special gratitude to Mr. Farhadi for bringing this prize to a well deserved group of artists and to the iranian people. More Articles available on The Guardian, NYTimes, Reuters, Washington Post, The Nation, Miami Herald and many more. Both Asghar Farhadi and Lady Jamileh Kharrazi alike have and will continue promoting Iranian Art via music, dance, pictures and movies to the world that has been blinded by the politicians and governments.
Amir Jadidi stars as a man in need of favors in Asghar Farhadi’s film. Illustration by Raphaelle Macaron
Asghar Farhadi’s tale of family, community, and debts cranks up the moral suspense until we can hardly breathe.
By Anthony Lane
January 7, 2022
The hero of “A Hero,” the new film from Asghar Farhadi, is a sign painter and calligrapher named Rahim (Amir Jadidi). As the story begins, he leaves prison and is driven up the wall. To be precise, up a cliff of pale rock, rich in elaborate carvings, northeast of the Iranian city of Shiraz. The cliff is the home of a necropolis, Naqsh-e Rostam, and Rahim finds it covered in scaffolding; climbing high, he greets his brother-in-law, the rotund and genial Hossein (Alireza Jahandideh), who is working at the site. The wind whistles gently around them, and Hossein brews tea, close to the tomb of Xerxes the Great, a Persian king who died almost two and a half thousand years ago. Rahim, by contrast, is on a furlough for two days, after which—not unlike Eddie Murphy in “48 Hrs.” (1982)—he must return to prison. Observing the scene, you feel dizzy at the doubleness of time. It expands and contracts, either stretching far into the distance or slamming shut.
Something else, however, makes you no less uneasy, and that is Rahim’s smile. It looks friendly and generous, but it’s also weirdly weak, and it can fade like breath off a mirror. This is clever casting on Farhadi’s part; we warm to Rahim’s crestfallen charm, and instinctively feel him to be down on his luck, yet we don’t entirely trust him, and the film proceeds to back our initial hunch. What led to his incarceration was an unpaid debt. His creditor, Bahram (Mohsen Tanabandeh), is grave, dour, and disinclined to forgive, despite being related to Rahim by marriage. (Just to thicken the mood, Bahram is a dead ringer for the Mandy Patinkin character, Saul, in “Homeland.”) “I was fooled once by his hangdog look, that’s enough,” Bahram says of Rahim, and we can’t help wondering, Could the dog be fooling us as well?
Anyone who has seen Farhadi’s earlier films, such as “About Elly” (2009) and “A Separation” (2011), will know how cunningly he doles out information, piece by piece. Thus, in the new movie, we gradually realize that Rahim has an ex-wife; that she will soon be married to someone else; that, while he’s been locked up, his sister Mali (Maryam Shahdaei) has been caring for his son, a shy kid with a stutter; that Farkhondeh (Sahar Goldust), a young woman beloved of Rahim, is the boy’s speech therapist; and so on. These things are true, but they are hard to cling to, because they are bundled up with things that are not necessarily true—secrets and lies, in which Rahim is all too quick to acquiesce. And the bundling only gets worse.
The salient event in “A Hero” occurs before the start of the action. Farkhondeh, we learn, has stumbled on a bag of gold coins beside a bus stop. Gold! The answer to the prayers of the wretched! As on the necropolis, and in the Dickensian idea of being jailed for debt, the modern is interfused with the bygone. The film is full of cell phones and social-media posts, yet we are solemnly asked to believe in a rare discovery, shiny with temptation, that would not be out of place in the “Arabian Nights.” Such is Farhadi’s skill, needless to say, that we do believe. And such is Rahim’s pliability that we readily accept his next move. Despairing of selling the coins for sufficient cash, he arranges to seek out their rightful owner and restore them, as if he, not Farkhondeh, had found the treasure. This tactic of his, dishonestly honest, becomes a news item, and, with his furlough over, he winds up on TV as a model of transparency and probity. According to the prison authorities, Rahim “has proved with this act that one can prioritize good deeds over personal interest.” There you have it, freshly baked: a hero.
To reveal what happens after this would spoil the bitter pleasures of a tough tale. Much of the movie unfolds in tight spaces: offices, cars, corridors, and the living room of Mali’s house, where food is laid out to welcome Rahim on his brief release. Most cramped of all is the copying-and-printing store where Bahram works, and where a fight breaks out between him and Rahim—a scrappy and humiliating tussle that is caught on camera. Will the footage go viral, with disastrous consequences for Rahim’s cause? Is he not learning, the hard way, that any attempt to manhandle public opinion is bound to snap back in one’s face, and would the lesson be any different for his counterpart in an American drama?
If I had to pick a running mate for “A Hero,” it would be Preston Sturges’s “Hail the Conquering Hero” (1944), in which a well-meaning wuss is (a) acclaimed for his soldierly courage, despite not having served in the war, and (b) too compliant, and maybe too tickled by pride, to set the record straight. Tonally, the two films could not be further apart; Sturges skids toward anarchy, while Farhadi patiently cranks up the moral suspense until we can barely breathe. What both directors make plain, nevertheless, is that their heroes are not alone in their folly, and that if they teeter unhappily on their pedestals it’s because we—ordinary citizens, puffed-up officials, or loving kinfolk—are rash enough, and emotionally avid enough, to plant them there. Take the charity organizers who put Rahim up on a platform, in front of an applauding audience: Are they really moved by his predicament, or are they merely buffing their own credentials?
By a useful coincidence, “A Hero” arrives in cinemas (for viewers hardy enough to visit them) in the wake of Joel Coen’s “The Tragedy of Macbeth.” Watch one after the other and you may decide, as I did, that “A Hero” is the more Shakespearean of the two. Coen’s film is powerful but hermetic, sealed off within its stylized designs, whereas Farhadi reaches back to “The Merchant of Venice” and pulls the play’s impassioned arguments into the melee of the here and now. Granted, the here means Iran, and, in place of an ugly clash between Jewish and Christian jurisdictions, the legal and theological backdrop is exclusively Islamic; but listen to the tenor of the talk. “I don’t want to slander him, but I warn you,” Bahram declares of his debtor, “if he doesn’t pay me, I’ll denounce him.” Here is a story about bonds, breaches of promise, and the bearing of false witness; just as Shylock takes root at center stage, often consigning Antonio—the merchant of the title—to the wings, so Bahram grows ever more immutable in his grievance, and the hapless Rahim ever less deserving of our sympathy. Even his son is dragged into the tangle of his deceit. “A Hero” makes a mockery of the heroic.
Theatrical windows, these days, don’t stay open for long. Before you know it, they are closed and barred, and even respectable movies are hustled, with indecent haste, through the streaming door. A case in point: little heed was paid to George Clooney’s “The Tender Bar” when it landed in cinemas, before Christmas. Now, already, it has arrived online—the proper moment, I’d say, to repair an injustice and to give the film, with its nicely rubbed blend of roughness and delicacy, the chance it deserves.
The hero is JR. He is played as a boy of eleven by Daniel Ranieri and later, as a student at Yale and an aspiring writer, by Tye Sheridan. Everybody asks what JR stands for; everybody, that is, except the guy at the Times who takes him on as a trainee, and who tells him to change his name to J. R., with a couple of periods nailed on, if he wants a byline. Beneath such quibbling lies the primal wound of JR’s life—the absence of his father (Max Martini), a radio host whom he hardly sees, though he hears his whiskey-varnished voice on the airwaves. At one of their rare meetings, JR says, “A doctor at school says I have no identity.” “Jesus. Get one,” his old man replies. Martini has only a few scenes, yet each of them burns a hole in the film as if he were stubbing out a butt.
Requiring stability, JR and his mother (Lily Rabe) find it at the Long Island home of his grandfather (Christopher Lloyd), who is—you guessed it—crotchety but kind. Also in residence is Charlie (Ben Affleck), who is JR’s uncle, de-facto father, and—another good guess—a spigot of wisdom, pouring forth instruction in what he calls “the male sciences.” He’s an autodidact to boot, and there’s a wonderful shot of the young JR seated on a bed, facing a closet crammed with books. “What you do is, you read all of those,” Charlie says.
The gist of the critical response has been that “The Tender Bar” follows a well-worn path. Fair enough, but is that such a sin? (You should try the new “Matrix” movie. Now, that’s worn.) What counts is the firmness of the tread, and Clooney sets a careful but unloitering pace. Together with his editor, Tanya Swerling, and his screenwriter, William Monahan, he insures that the warmth of the tale—adapted from a memoir by J. R. Moehringer—doesn’t turn fuzzy in the telling, and that, as in any honest recollection of youth, the funny stuff is the flip side of pain. Hence the advice that JR receives from a pal: “When you suck at writing, you become a journalist.” No comment. ♦
Published in the print edition of the January 17, 2022, issue, with the headline “True Lies.”
فیلم همه می دانند جدیدترین ساخته اصغر فرهادی همراه با سنت شکنی جشنواره کن ۲۰۱۸ را افتتاح می کند
فیلم همه می دانند جدیدترین ساخته اصغر فرهادی همراه با سنت شکنی جشنواره کن ۲۰۱۸ را افتتاح می کند
برای ایران و ایرانی افتخار بسیار بزرگی است که فیلم سینمایی اسپانیایی زبان همه می د��نند آخرین ساخته ی اصغر فرهادی کارگردان پرآوازه که تاکنون دو بار موفق به دریافت جایزه ی اسکار بهترین فیلم خارجی برای فیلم های جدایی نادر از سیمین و فروشنده شده است، قرار است آغازگر هفتاد و یکمین جشنواره ی کن ۲۰۱۸ که ۱۸ تا ۳۰ اردیبهشت ماه سال جاری در فرانسه برگزار می شود، باشد. این فیلم که به اسپانیایی Todos lo saben…
استودیو آمازون حق پخش فیلم «قهرمان» اصغر فرهادی را خریداری کرده تا آن را برای فصل جوایز فیلم ۲۰۲۲ آماده کند.
به گزارش رسانه هدهد کانادا، فیلم «قهرمان» پس از «فروشنده» دومین فیلم فرهادی است که توسط آمازون در آمریکای شمالی اکران میشود.
فیلم قبلی او نیز جایزه بهترین بازیگر نقش اول مرد (شهاب حسینی) و بهترین فیلمنامه را در جشنواره کن از آن خود کرد و در ادامه نیز برنده جایزه اسکار بهترین فیلم بین…
نامزدهای دریافت جایزه بفتا معرفی شدند/ فیلم فرهادی در بین نامزدها
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نامزدهای دریافت جایزه بفتا معرفی شدند/ فیلم فرهادی در بین نامزدها
در لیست نامزدهای 2018 آکادمی بریتانیا، «سه بیلبورد»، «تیرهترین ساعت» و «شکل آب» جزو منتخبان اصلی هستند.
قرارگیری فیلم «فروشنده» در فهرست «راتن تومیتوز» تا به این لحظه فهرست های مختلفی از برترین های سال توسط منابع معتبر سینمایی منتشر شده است و هر چه به مراسم اسکار نزدیک می شویم تعداد فهرست ها بیشتر و بیشتر می شوند.