Further cementing himself as Iran’s (or anywhere’s) best
director of taut human drama, Asghar Farhadi gives us an excellent follow up to
A Separation, the film that won the
Oscar for Foreign Language Film and made many critics’ top ten lists (including
my own) two years ago. The Past is a
masterful display of a great writer at work. Starting from the classical
position of staging drama in a condensed period of time, it takes place over a
handful of days during which enough secrets, emotions, and hidden motivations
are revealed to fill a couple more movies.
Ahmad (Ali Mosaffa) returns from Tehran to France at the
request of his estranged wife, Marie (Bérénice Bejo), to finalize their divorce
so that she can marry Samir (Tahar Rahim). Her daughters from her marriage
prior to Ahmad, have wildly different reactions to the impending nuptials. Léa,
the younger girl, hardly has much to say on the subject. She is content to have
a playmate in Fouad, her soon-to-be stepbrother. On the other hand, Lucie
(Pauline Burlet), the sixteen-year old, sees right through what’s going on. She
loves Ahmad like a father and doen’t want to lose him, but she also questions
Samir’s character. She sees only a man whose wife (and Fouad’s mother) lies in
a coma from a suicide attempt.
The longer Ahmad stays in the home of his ex-wife and her
new lover (which used to be Ahmad’s home), the more is revealed and the more he
learns about everyone’s reasons for their behavior. Why does Marie want to
marry Samir now? Why is Lucie so terribly angry at Samir and her own mother?
Farhadi’s screenplay brilliantly and deliberately extracts the details with
painstaking precision. He also crafts characters that are truly human. Marie is
a deeply flawed woman. She makes questionable decisions as a mother and we
might even paint her as selfish, but Farhadi never turns her in o a monster.
Bejo’s performance is what holds the entire thread together. Farhadi uses that
quality of likability that she has, what we saw in The Artist, and subverts it by casting her in this role. We expect
her, based on our cultural values of how a mother should behave, to make the
right decisions. So when she acts in her own self interest we feel conflict
within ourselves about our feelings toward her.
This is as much a character study as it is a mystery.
Farhadi loves these human mysteries that are never fully resolved just the way
a human life and all the events and curiosities that comprise it are never
really completed. This time he is exploring the ways our past decisions and
actions have far-reaching consequences that we never intended or even imagined.
As Ahmad digs deeper into the circumstances of Samir’s and Marie’s affair and
the suicide attempt, he discovers that choices made, in some cases in the
recent past, have deeply impacted others today in unimaginable ways. Ahmad may
have thought he left his past life behind, but he learns how embroiled he is in
the lives of his former family. When he walks off at the end, we have to
wonder, as I’m sure he must, if he is closing the book on this chapter of his
life. Or will this week become a series of events that continues to inform and
affect the rest of his life.
Curiously, the final moments of the film don’t involve
either Ahmad or Marie, who are the principal characters throughout. It closes
on Samir and his hospitalized wife in a quiet moment. He is there for a
specific reason. Very gently, the camera shifts its position and almost reveals
a key to unlocking part of the film’s mystery. As in A Separation, Farhadi is not at all interested in closing all the gaps. It’s
the questions and uncertainty that drive him to these fascinating and
beautifully told tales.
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