Review: The Salesman

Asghar Farhadi has won Oscars before -- his film, A SEPARATION, won an Academy Award for Best Foreign Film back in 2012 -- but now his most recent film has granted him Oscar attention yet again. THE SALESMAN, a gripping tale about a struggling marriage after a terrible incident, won the same award this year, and it is easy to see why.

Rana and Emad Etesani (played by Taraneh Alidoosti and Shahab Hosseini) are actors in a local production of "The Death of a Salesman", playing the parts of Willy and Linda Loman. When their apartment building becomes unlivable after the building starts to collapse, Rana and Emad begin to look for another place to stay, all the while nearing the opening of the play. One of their coworkers, Babak (Babak Karimi) offers up an apartment that he was previously renting -- and in which one of the rooms is still locked up, with all the previous tenant's belongings inside.

At first the residual impact of this previous tenant is a mere annoyance, but as more information is revealed, the situation becomes a bit foreboding: it is rumored that the woman was a prostitute, and it seems that she is not happy with the landlord. And then the incident happens: Rana, home alone and about to get into the shower, buzzes a stranger into the apartment, thinking it is Emad at the door -- and ends up in the hospital, a bloody trail left behind in the apartment.

Farhadi is known for lacing his films with difficult situations, and intricate characters -- he tells the tale of Iranian marriage from such an interesting perspective, especially when there are other layers of the story complicating things. THE SALESMAN is a perfect example of this: Rana is in a state of disarray, sifting through a turbulent array of emotions as the victim. She refuses to go to the police because she doesn't want to relive the experience, and Emad struggles in his attempt to soothe and protect her, with conflicting results... She wants him to stay home from work so she won't be alone, but she doesn't want him to touch her. Though her reaction is perfectly natural, Emad becomes frustrated at his wife's emotional withdrawal, and so begins to piece together what clues he has to find the intruder in order to exact some form of revenge. But what exactly that revenge looks like is where Emad falls short: in the end, the justice is less for the victim, and more for himself. There is a strong parallel between him and his Willy Loman counterpart in this self-destructive nature, and the result is devastating and uncomfortable.

The acting in this film is impeccable -- Alidoosti's performance is heartbreaking, and Hosseini sinks into his character's personal vendetta well. Farhadi continues to bring emotional intensity to the screen, and it is not hard to understand why the film won Best Foreign Film at the Oscars this year. THE SALESMAN is now playing at Midtown Cinema!

Review: Kedi

With all the cat pictures floating around the Internet, it isn't too hard to understand why a documentary about cats is so appealing to audiences. But director Ceyda Torun's film, KEDI, focuses on more than just the cute and fluffy nature of our feline friends -- it focuses on their personality.

KEDI takes us on a journey to Istanbul, where a plethora of cats live, roaming the streets. Seven cats hold the rapt attention of the camera: Sari used to be lazy all day, until she had kittens -- now she makes the rounds, soliciting food to bring back to her children. Then there's Aslan Parçasi, who decided to help a restaurant with its rat problem, and more than pays his keep. Duman is the gentleman, frequenting the nearby deli but never entering -- he just paws at the window when he wants food. Then there's Bengü, the lover; and Deniz, the social butterfly; and Gamsiz, the tough-guy player; and Psikopat, who, true to her name, reigns over her husband-cat more than a little jealously.

As many interviewees throughout the film are so quick to say, these cats are just like people. Different mannerisms, preferences, stubborn streaks, and self-designated purposes make these cats just as human-like as anyone. But it is also, says one Istanbul resident, "like being friends with aliens" -- there is an inability to communicate, and a difference in societal expectations and culture, but there is still a certain closeness and special feeling that people get around cats.

The film slips into a political stance here and there -- some of the interviewees speculate about what will become of the cats when they build the main road through their home -- but for the most part, the focus is all on the cats: their personalities, their symbolism, and their meaning to humankind.

This is a fascinating documentary, which will hold your attention right to the very last minute. KEDI is now playing at Midtown Cinema! Don't miss this feline-tastic film!