Chaharshanbe-soori (Fireworks Wednesday) - Asghar Farhadi

qualche anno prima di "Una separazione", qui ci sono le stesse tematiche.
grande cinema, con una tensione, in certi momenti, quasi insopportabile.
attori davvero bravi, è un film da vedere senza se e senza ma - Ismaele

This intimate, powerful little film focuses on the rarely considered personal lives of average, middle class Iranian citizens. The class and gender-related tensions at the heart of the story reveal much about the strictures of modern Iranian culture, but director Farhadi’s humanist viewpoint and his actors’ vivid characterizations also make this tale feel achingly familiar and borderless. As events come to a head, the family’s highly combustible conflict ironically mirrors the climactic explosion of holiday chaos outside. Though as a result of this traumatic experience Rouhi must consider her own future in a more sober light, we sense this may be a blessing in disguise. Don’t miss this fascinating, penetrating entry, which adds up to a lot more substance than flash.

da qui

…Farhadi pose la question du couple dans son ensemble car, outre celui de Mozhde qui bât de l'aile, on entre dans le film avec un couple de jeunes qui sont tout juste fiancés. Ils sont heureux, souriants à la vie et confiants pour leur avenir. Le bonheur se lit sur leurs visages. Enfin, le film se termine sur l'image d'un homme séparé de sa femme. Il dort dans sa voiture en attendant que leur fille ait passé le jour de l'an chez sa mère. Voyez comme on est loin des problématiques de relations sociales et de l'emprise de la société sur l'individu. C'est la cellule familiale qui est interrogée, dans son intimité. Comme elle pourrait l'être aussi bien en Iran qu'au Japon ou en France. Il est juste question de relation entre un homme et une femme…

da qui

…The film is great on atmosphere (the noisy and crowded street scenes with merrymakers are contrasted with the sullen couple battling alone in their spacious luxury apartment), keeping things real and is intelligently told from more or less a woman's point of view…

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Chaharshanbe Suri (Fireworks Wednesday, 2006) is an Iranian domestic drama directed byAsghar Farhadi that outlines the strains and emotional agonies of an urban couple in the course of a single day. It won the prize for best feature at the 42nd Chicago Film Festival in 2006. The title refers to the evening before the last Wednesday of the Iranian year, which traditionally sets off the Iranian New Year (“Nowrouz”) festivities that last for a few weeks. The activities on this night are part of the traditional Persian culture and predate the advent of Islam by at least two thousand years. Every year on that evening, Iranians set up fires on the streets all over the city, with boys eager to leap over them for the traditional good luck that it may bring. It is an evening full of brightly lit fires and firecrackers that boys tend to look forward to, and so it might compare a bit to the American Halloween…

continua qui

… Farhadi expertly uses the space of the apartment building, as well as the passing time of the long day. When it gets dark, the "Fireworks Wednesday" celebration begins (basically New Year's Eve), which verges on a violent outburst. Morteza drives Rouhi home through what looks like a battlefield of fires, explosions and unruly crowds. When Rouhi returns to her husband, her fresh, unalloyed love may have been tainted by a bit of reality, or it may be stronger than ever.

da qui

Un matrimonio in crisi. Un piccolo giallo domestico, intorno ad un numero di telefono. E una cameriera che rimane coinvolta, suo malgrado, nei problemi di coppia dei suoi datori di lavoro. Sembra un’anticipazione di Nader e Simin, una separazione. Una storia che viene dall’Iran dei giorni nostri, ma che per un attimo dimentica il mondo esterno, con i grandi temi della politica e della religione, per concentrarsi sui drammi che riguardano direttamente i sentimenti, e che parlano il linguaggio universale della rabbia, della gelosia, del dolore per un tradimento che non si vuole ammettere, e per un amore che finisce, o magari non c’è mai stato…

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il film inizia così:

un’intervista con Asghar Farhadi: