I like the storyline of this show,it attract me so much

As Good As It Gets

A terrific literary drama and character piece that shows how the process of creating art can be seen differently by those doing it and those looking at it from the outside.

A terrific literary drama and character piece that shows how the process of creating art can be seen differently by those doing it and those looking at it from the outside.

Walked out. Film is stupid, annoying: The movie is so anti-sex that the characters kept accusing a prior neighbor of promiscuity, to blame her and explain the ensuing evil (the rape, primarily). The supposedly intelligent husband stupidly assumes, without talking to her about it, that his wife is ready to jump right back on stage after being violently raped and hospitalized.

"The Salesman" is a pre-bad (worse than bad) movie; a nugatory one. It neither sells anything nor buy. It is unable to sell and buy and incapable of dealing or discussing at all.It's a not-yet-made, confused and passive movie to which the action happens- from the outside-. It doesn't have any sort of action of its own, let alone character. It's a movie with no story, script, directing, camera-work, or editing.The movie doesn't even have an acceptable "what" due to a hollow script to which anything enters and from which anything exits. The script lacks many necessary things but contains lots of useless ones, instead. Of course, nothing has been aesthetically removed from the script, for nothing is there in the first place. Thus the writer doesn't have anything at all to remove.The movie is incomplete, unfinished and "open". The director doesn't know that an "open" phenomenon is not a phenomenon yet. It can be open only after it is able to be closed and after it is completely finished.Our director, as if he knows that his "The Salesman" needs a lot of effort yet to be a movie, attends lots of interviews and attaches himself to his dumb movie. He pretends to be oppressed, spark controversy about himself, and soothe himself by making a "modern" pretension to be intellectual and relativist. Thus, he pleases himself for "causing the audience to have a mental challenge" and "that the audience is full of questions while coming out of the theatre is of worth" for him.One should remind him that it is not worthy at all if the audience come out of the theatre being confused by lots of unanswered questions. It is not worthy at all if all of those questions are about the "what" of the story but not "how" it is told. it is not worthy at all if the origin of the questions is the audience not facing a specific and finished story by which he can reach the "how" and experience.He (the director) has left us no other choice but to remind him that cinema is neither a horn nor a riddle. A work of art is a live experience, not a proposition or the answer to several questions. Art is not a statement, but the way of stating. The audience's challenge with a good work of art is intuitive and emotional, then intellectual. The intellectual who doesn't have the slightest idea of feelings, is one of the concept-oriented people who can never understand art.The audience's main question about this vague and passive movie is the following: "Is someone raped or just attacked?" In order to pretend that the movie is important, the director decisively says, in one of the interviews, that "no one is raped." Nevertheless, the movie implies the opposite. Not in its mise en scene- which isn't actually there-, but by two dialogues; one is of the wretched violator's ("I was tempted.") and the other one is of the doleful victim's ("I wish I were dead."). In another interview, with a Hitchcock sense of humor- which doesn't fit him at all- the director mentions that he hasn't been in the bathroom, so he doesn't know what has happened.

Well deserved 2017 Oscar for best foreign film. A tight psychological drama about personal family drama in Tehran. Starts slow, but once it grabs you, it doesn't let go. A surprise if you think that Iran is a cultural vacuum of nuclear Islamic fundamentalists. Hollywood hasn't a clue how to make a movie like this.

I applaud director Farhadi for making Iran more accessible to outsiders, focusing on modern urban issues, and making Tehran more internationally relatable. But I'm not a fan of his pacing or how he plays out the drama. I had low expectations as "A Separation" lost me due to the unrelenting yelling between its characters. "The Salesman" was more lively and allowed its characters to have more emotions. But two things ultimately distracted me: the first was the uneven pacing. The movie would pick up but then drag, and the worst part being the final act; just as the dialogue, drama, and suspense were at its best, and Farhadi has you feeling empathy for everyone, he does not know when to quit, and gives us almost 20 minutes of people crying.The second one was: I realized that he was just making an Argentine film. If you've seen Argentine cinema, that you'll notice that, aside from the occasional dark comedy, they're mostly slow-paced melodrama about relationships between family members and the communities, where people go from being numb to an ultimate eruption of emotions. Even their thrillers play out this way. Shahab Hosseini looked and acted like Ricardo Darin, down to the body language and linguistic pacing. Thus, I felt like I had seen this movie a dozen times before.It is no surprise to me that Farhadi's next film is set in Argentina and involves Darin.