Shahab Hosseini (I) - News Poster


Immigrant story ‘Oasis of Now’ wins best project at Finnish Film Affair

Maria Pirkkalainen now heads the Helsinki event, which attracted 400 industry attendees.

The Finnish Film Affair wraps today with its best project award going to Oasis Of Now, the debut feature of Finnish-Iranian director and screenwriter Hamy Ramezan. The story follows a family seeking asylum in Finland, and Shahab Hosseini will lead the cast.

Jussi Rantamäki and Emilia Haukka of Aamu Film Company will produce; the company’s credits include Cannes award-winner The Happiest Day In The Life Of Olli Maki. The best project prize comes with a cash award of €3000 ($3320) to support the film’s international marketing.

“The film has
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The Conversation: Last But Not Least for Cannes 2019

With the main competition and the sidebar programs all unveiled, we await news of one or potentially two last-minute titles added to the competition, as is often customary. Over the past several years, several of the last additions went on to collect major awards. In 2015, the final two additions were Valley of Love and Chronic (which took home Best Screenplay). The 2016 edition of the fest saw Asghar Farhadi’s The Salesman slip in to competition, taking home Best Actor for Shahab Hosseini and Best Screenplay. In 2017, Ruben Ostlund’s was the only last addition and went on to win the Palme d’Or.…
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Cannes Film Festival 2018: Palme d’Or race has 18 strong entries – whose ahead?

Cannes Film Festival 2018: Palme d’Or race has 18 strong entries – whose ahead?
There are 18 films in competition will screen at the Cannes film festival this year. The 71st edition of the international festival in the south of France runs from May 8 to May 19. A filmmaker’s history at the festival offers insights as to who might be out front to take home the coveted Palme d’Or. Eight of the entries are by filmmakers that have had their work honored at past closing ceremonies. This year could definitely see someone new in the mix as four of the filmmakers are making their debuts on the Croisette while another four are having their films shown here in competition for the first time. The jury will be headed by two-time Oscar winner Cate Blanchett.

Below is a breakdown of the 18 films competing this year and the history of their helmers at the festival.

Stépane Brizé (“At War”)

When a company that has asked for
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Trailer Arrives For Cannes 2018 Opener ‘Everybody Knows’

Everybody Knows trailer

We announced just yesterday that Asghar Farhadi’s Everybody Knows will open the 2018 Cannes Film Festival, and now we can deliver the very first trailer for the film.

Javier Bardem and Penelope Cruz lead the cast of the film.

Asghar Farhadi’s 8th feature film, shot entirely in Spanish on the Iberian Peninsula, charts the story of Laura, who lives with her husband and children in Buenos Aires. When they return together to her native village in Spain for a family celebration, an unexpected event changes the course of their lives. The family, its ties and the moral choices imposed on them lie, as in every one of Farhadi’s scripts, at the heart of the plot.

According to the official release from Cannes organisers, José Luis Alcaine is director of photography on the film (a regular collaborator of Pedro Almodóvar, Carlos Saura and Bigas Luna), the
See full article at The Hollywood News »

Cruz and Bardem to open Cannes by Richard Mowe - 2018-04-05 10:29:13

Penelope Cruz and Javier Bardem in Everybody Knows - opening film at this year’s Cannes Film Festival Photo: Memento The new film by Asghar Farhadi, Everybody Knows, starring Penelope Cruz, Javier Bardem and Argentinian actor Ricardo Darín will open the 71st edition of the Cannes Film Festival on May 8 and will be part of the Competition before its release in French cinemas on 9 May, it was announced by the Festival organisers today.

For the Iranian film-maker the screening of Everybody Knows (Todos Lo Saben) will mark his return to Cannes for the third consecutive occasion after The Past with Bérénice Béjo for which she received a best actress in 2013, and The Salesman which won best script and best actor for Shahab Hosseini in 2016 as well as the Oscar for best foreign film last year. Everybody Knows is only the second Spanish-language title to open the Festival following Pedro Almodovar
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Asghar Farhadi's 'Everybody Knows' to open 2018 Cannes Film Festival

Psychological thriller will be released by Memento in France the following day.

The 71st Cannes Film Festival will open with a screening of Asghar Farhadi’s Everybody Knows (Todos Lo Saben) in competition on Tuesday 8 May, it has been confirmed.

Starring Javier Bardem, Penelope Cruz and Ricardo Darin, and written by Farhadi (The Salesman) the film is a psychological thriller about a woman called Laura (Cruz) who journeys from Buenos Aires with her family to her native village in Spain. Their intended celebrations are disrupted by unexpected events.

Produced by Paris-based Memento Films Production’s Alexandre Mallet-Guy and Alvaro Longoria of Spain’s Morena Films,
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Asghar Farhadi to Open Cannes 2018 With ‘Everybody Knows,’ Starring Penélope Cruz and Javier Bardem

Asghar Farhadi to Open Cannes 2018 With ‘Everybody Knows,’ Starring Penélope Cruz and Javier Bardem
The 2018 Cannes Film Festival will open with the world premiere of Asghar Farhadi’s Spanish-language drama “Everybody Knows,” starring Penélope Cruz and Javier Bardem. The decision makes the drama the second Spanish-language film to open Cannes after Pedro Almodóvar’s “Bad Education” in 2004. The opening selection was first reported by Variety.

Everybody Knows” stars the Oscar-winning Cruz as a mother who travels with her family from Buenos Aires back to her small hometown outside Madrid, Spain for a celebration. The family’s trip is plagued by unexpected events that threaten to tear the loved ones apart.

Cannes has never hid the fact it loves auteur filmmakers and star-studded casts, so the combination of Farhadi, Cruz, and Bardem made “Everybody Knows” a no-brainer for the opening night slot. Both actors are no strangers to the Croisette. Cruz shared the best actress trophy for “Volver” in 2006, while Bardem was recently at Cannes
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Penelope Cruz and Javier Bardem’s ‘Everybody Knows’ to Open Cannes Film Festival (Exclusive)

  • Variety
Penelope Cruz and Javier Bardem’s ‘Everybody Knows’ to Open Cannes Film Festival (Exclusive)
Two-time Oscar-winning filmmaker Asghar Farhadi’s psychological thriller “Everybody Knows,” starring Javier Bardem, Penelope Cruz and Ricardo Darin, is set to open the 71st Cannes Film Festival, Variety has learned.

The festival will likely make an official announcement about the selection of “Everybody Knows” on opening night either later today or in the coming days.

Everybody Knows” (“Todos Lo Saben”) will mark only the second Spanish-language film to open Cannes, following Pedro Almodovar’s “Bad Education,” which kicked off the festival in 2004. It is also one of the few openers in recent memory not in either English or French.

The choice clearly reflects the outlook of Cannes artistic director Thierry Fremaux, who has aimed in recent years at kicking off the festival with films that bring together a critically acclaimed auteur, including the likes of Wes Anderson and Arnaud Desplechin, with an attractive, glamorous cast.

Iranian director Farhadi has previously
See full article at Variety »

Gholam review – Shahab Hosseini mesmerises as Iranian exile in London

An Iranian London minicab driver is caught between two worlds in Mitra Tabrizian’s striking feature debut

This haunting debut feature from photographer and film-maker Mitra Tabrizian is set amid London’s Iranian community during the Arab spring of 2011. Centring on a melancholy figure caught between his former home and his current lonely life, it’s an arresting portrait of displaced struggles that moves almost inexorably from observational drama to eerie quasi-thriller. At its heart is a mesmerising (and often wordless) performance by Shahab Hosseini, who proved so magnetic in Asghar Farhadi’s 2017 Oscar-winner The Salesman. Adept at conveying weighty emotional conflicts through minimal physical gestures (his kind but careworn face speaks a thousand words), Hosseini holds the audience’s attention as Tabrizian’s elliptical, diasporic drama unfolds mysteriously around him.

There’s a distant echo of Robert De Niro in Hosseini’s Gholam, a nocturnal minicab driver whose variously
See full article at The Guardian - Film News »

Gholam review – Iranian exile haunted by the past in lonely London

Shahab Hosseini delivers a nuanced performance as a melancholy Iranian immigrant in Mitra Tabrizian’s sharp drama

Shahab Hosseini, who deservedly won recognition for his intense performance in Asghar Farhadi’s The Salesman, offers a nuanced study in acting minimalism with this melancholy portrait of a man living in exile in London, never quite beyond the reach of his own troubled past. It’s a feature debut for Iranian artist-turned-writer-director Mitra Tabrizian, whose background in still photography perhaps explains the crepuscular cinematography.

Hosseini plays Gholam, a taciturn immigrant who works as a minicab driver by night and mechanic by day in a garage owned by kindly Mr Sharif (eminent Iranian actor Behrouz Behnejad). At the cafe run by his uncle, Gholam runs into a former colleague from his army days years ago, who wants to entice him into some shady business, maybe to do with politics. (The story takes place
See full article at The Guardian - Film News »

DVD Review – The Salesman (2016)

The Salesman, 2016.

Directed by Asghar Farhadi.

Starring Taraneh Alidoost, Shahab Hosseini, Farid Sajjadi Hosseini, and Babak Karimi.


In modern-day Iran, a teacher and his wife are preparing for the opening night of their amateur production of Arthur Miller’s Death of a Salesman. But work on an adjacent building makes their own apartment block dangerous, so they’re forced to move in a hurry. A friend rents them an apartment, but then mistaken identity and violence threaten to undermine their marriage.

There are few experiences in the theatre more emotionally shattering than a good production of a classic Arthur Miller play. In the right hands, he tears you to shreds with his portraits of men who suffer as the result of one action, deliberate or otherwise. While Iranian director Asghar Farhadi prefers to put couples under stress, the similarities between him and the American dramatist come to the forefront in his second Oscar winner,
See full article at Flickeringmyth »

Giveaway: Win Asghar Farhadi’s Oscar Winner ‘The Salesman’ on Blu-ray

One of the best films of last year, Asghar Farhadi‘s Oscar-winning drama The Salesman, arrives on Blu-ray this week. We’ve teamed with Sony Pictures Home Entertainment to give away five copies to our readers. See how to enter below and all entries must be received by 11:59 Pm Est on Monday, May 8th.

To enter, do the first three steps and then each additional one counts as another entry into the contest.

1. Like The Film Stage on Facebook

2. Follow The Film Stage on Twitter

Follow @TheFilmStage

3. Follow The Film Stage on Instagram

4. Comment in the box on Facebook with your favorite Best Foreign Film Oscar winner.

5. Retweet the following tweet:

We're giving away Asghar Farhadi's #TheSalesman on Blu-ray. Rt this + follow to enter. See details:

— The Film Stage
See full article at The Film Stage »

The Salesman | Blu-ray Review

Iranian auteur Asghar Farhadi’s The Salesman was his second film to win the Academy Award for Best Foreign Language film (following 2012’s A Separation), which began receiving accolades immediately after its premiere at the 2016 Cannes Film Festival, where it picked up awards for Best Actor and Best Screenplay. Purchased by The Cohen Media Group, the title racked up over two million at the domestic box office thanks to an awards and marketing campaign which received an additional relevancy from the political firestorm regarding a travel ban which inhibited Farhadi from attending the awards ceremony (a platform which ended up as the program’s only significant political acceptance speech from the director by proxy).

Notably, this is a return to Iran for Farhadi after his 2013 French language debut The Past, though this searing indictment on the bothersome realities of vengeance and unjustifiably gendered power ethics doesn’t reach the formidable and deliciously exacting dramatics of his 2012 Oscar and nominated Golden Berlin Bear winning A Separation. Still, Farhadi’s particular theatrics remain idiosyncratic to his interests in exploring culturally specific dynamics between men and women, and have successfully elevated the international awareness and platform of Iranian cinema, and his latest (which snagged a Best Screenplay and Best Actor win at Cannes 2016) is another strident chapter on human emotions shackled by social convention.

In the midst of rehearsing their soon to open stage production of the famous Arthur Miller play, in which they will be starring as Willy and Linda Loman, married couple Emad (Shahab Hosseini) and Rana Etesami (Taraneh Alidoosti) find themselves displaced from their newly purchased apartment when the entire complex begins to collapse. Thankfully, Babak (Babak Karimi), their co-star in the stage production, knows of a vacant apartment where the couple can immediately relocate temporarily as they await a reimbursement for their damaged apartment. Their lives suddenly in disarray, Rana mistakenly buzzes an interloper into the apartment one evening thinking it is Emad returning home, only to be physically and sexually assaulted by a man who had come to visit the previous displaced tenant, a prostitute who was greatly disliked by her socially pure neighbors. The culprit flees the scene following the indiscretion and leaves his truck behind. While Emad and Rana attempt to pick up the pieces, their emotional disconnect causes Emad to go to great lengths to solicit an eye for an eye without the interference of the law.

The opening sequences of The Salesman provide the film with its overarching metaphor of an irreparable foundational disturbance, the unsecure building and subsequent evacuation resulting in a dramatic ripple effect. Just as the central couple in A Separation is (at least partially defined) by their parental roles, Rana and Emad’s predicament here is also born out of their childlessness. Devotees of the theater, (Miller’s tweaked text, including side jokes about the downplayed sexuality of the prostitute character Miss Francis is merely a backdrop and superficial subtext), it is inferred the Etesamis and their untraditional lives and interests are the potential cause for their current state of tragic duress. The power of suggestion is the significant thread connecting (and strangling) the major movements of The Salesman, which uses Miller not so much as a treatment of American vs. Iranian values, but as an experimental, doubling arena for the theatrical business of life.

The actress playing Miss Francis in the play assumes she is being demeaned by a male co-star because portraying a woman of easy virtue invites automatic disrespect; Babak becomes infuriated at Emad adlibbing incendiary lines during a performance; a woman in a taxi is convinced Emad aims to molest her because he sits with his legs open; and, ultimately, it is Rana’s fault she was raped because she didn’t bother to check who she opened the front door of her apartment to. Had Rana and Emad had children or more conventional professions, their own lackadaisically defined routines would have been in automatic check, or so the social circles around them in The Salesman seem to imply.

We sympathize more with Shahab Hosseini’s Emad, whose chronic frustration boils over into a Death and the Maiden style attempt at truth as vengeance. Because Farhadi, once again, only implies the trauma exacted upon Rana in her shower, it allows for us to be more estranged from her untoward behavior and subsequent victimhood and more celebratory of Emad’s impassioned attempt to rectify the situation by saving his pride (and, perhaps to a lesser degree, his wife’s reputation). Farhadi reunites with his About Elly (2008) cinematographer Hossein Jafarian to construct a careful examination of bodies in spaces, the suggested control and inherent power plays in blocking.

The final, intense third act returns us to the unsafe space of the crumbling façade, a touching metaphor for the grisly and unappealing outcome of Emad’s desperate ploy for closure and revenge. But as in previous works, Farhadi’s strength lies in his ability to cast adept performers able to convey the subtle complexities of his prose, and what Taraneh Alidoosti and Shahab Hosseini (both who have previously appeared in Farhadi’s films) achieve here is exciting as it is troubling for Farhadi forces us to ask why do we sympathize with Emad and not Rana? The audience, like the community and culture around Rana, become complicit in their inability to empathize with either females or victimhood. Until the magnificent finale, that is, when Emad and company (including a particularly arresting late staged supporting turn from Farid Sajjadhosseini) are taken to task, and satisfaction for anyone quickly dissipates into the realm of the impossible.

Disc Review:

For the film’s first availability on Blu-ray, this Sony release isn’t quite as persuasive as most of Cohen Media Group’s usual home entertainment releases. Presented in 1.85:1 with DTS-hd Master Audio, picture and sound quality are serviceably transferred in this high definition package. A lone extra feature begs for a more illustrious presentation for the lauded title, however.

A Conversation:

An interview with writer-director Asghar Farhadi on the origins and making of The Salesman is available as a bonus feature.

Final Thoughts:

In the same vein as Farhadi’s other tautly constructed social issue melodramas, The Salesman is another aggravating ripple effect of confounded displacement and fractured foundations.

Film Review: ★★★½/☆☆☆☆☆

Disc Review: ★★★/☆☆☆☆☆

The post The Salesman | Blu-ray Review appeared first on
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The Salesman

This Iranian import made news when its director found himself on the wrong side of the recent travel ban. It’s well worth the bother. Asghar Farhadi’s suspense story can’t be topped for maturity, insight or honest emotions about social stress: after an assault in a new apartment, the strain affects everything that a wife and husband do — driving a wedge through their marriage. Is it all built on a shaky foundation, like the crumbling apartment building they had to evacuate?

The Salesman


Sony Pictures Home Entertainment

2016 / Color / 1:85 widescreen / 124 min. / Forushande / Street Date May 2, 2017 / 34.99

Starring: Taraneh Alidoosti, Shahab Hosseini, Babak Karimi, Mina Sadati, Farid Sajjadi Hosseini, Mojtaba Pirzadeh, Maral Bani Adam, Emad Emami, Sam Valipour, Ehteram Boroumand, Mehdi Koushki, Shirin Aghakashi, Sahra Asadollahe.

Cinematography: Hossein Jafarian

Film Editor: Hayedeh Safiyari

Original Music: Sattar Oraki

Produced by Asghar Farhadi, Alexandre Mallet-Guy

Written and Directed by Asghar Farhadi
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Frémaux spills the beans on Cannes Official Selection process

Cannes will be tying up the line-up until late into the night, according to Frémaux’s recent book.

With less than 24 hours to go until the Cannes Film Festival unveils the Official Selection of its 70th edition (May 17-28) speculation is building.

The eve of the announcement is a decisive day for the festival as it ties-up the loose ends of it line-up.

Cannes delegate general Thierry Frémaux and the rest of his selection and press team will be lockdown at the festival’s rue Amélie offices in the shadow of the Eiffel Tower.

Frémaux describes today as the “day of all dangers”, in his recent book, Sélection Officielle (pictured, right), a blow-by-blow account of how the 2016 selection came together over the course of a year.

“There are still films to be seen and decisions to be taken, some will be delicate: establishing a selection is not an exact science,” writes Frémaux
See full article at ScreenDaily »

Thierry Frémaux spills the beans on Cannes Official Selection

Cannes will be tying up the line-up until late into the night, according to Frémaux’s recent book.

With less than 24 hours to go until the Cannes Film Festival unveils the Official Selection of its 70th edition (May 17-28) speculation is building.

The eve of the announcement is a decisive day for the festival as it ties-up the loose ends of it line-up.

Cannes delegate general Thierry Frémaux and the rest of his selection and press team will be lockdown at the festival’s rue Amélie offices in the shadow of the Eiffel Tower.

Frémaux describes today as the “day of all dangers”, in his recent book, Sélection Officielle (pictured, right), a blow-by-blow account of how the 2016 selection came together over the course of a year.

“There are still films to be seen and decisions to be taken, some will be delicate: establishing a selection is not an exact science,” writes Frémaux
See full article at ScreenDaily »

The Salesman review – Oscar-winning excellence

This Iranian domestic drama from the director of A Separation lays its symbolism on with a trowel – but it works

Asghar Farhadi is not a director who hides his symbolic subtext. The imagery in this engrossing drama, about a couple of actors whose marriage is tested when she is violently assaulted in their new home, is so overt, Farhadi might as well be sounding a klaxon. There’s the choice of the play within the film – a Persian translation of Arthur Miller’s Death of a Salesman. Willy Loman’s impotence and frustration permeate the film like cheap aftershave. And there’s the reason that Rana (Taraneh Alidoosti) and Emad (Shahab Hosseini) have to move house in the first place – their original apartment building is collapsing. The cracks in their home life are literal as well as figurative.

With a writer-director less skilled than Farhadi, this occasional lack of subtlety might be a problem.
See full article at The Guardian - Film News »

The Salesman review: Dir. Asghar Farhadi (2017)

The Salesman review: Asghar Farhadi’s Oscar-winner finally makes it to British soil, but will you buy into it?

The Salesman review by Paul Heath, March 2017.

The Salesman review

After competing in-competition for the prestigious Palme d’Or at the 2016 Cannes Film Festival, and walking away with the award for Best Screenplay and Best Actor for the formidable performance of Shahab Hosseini, The Salesman‘s success has grown and grown, culminating in Oscar triumph in the Best Foreign Language Film category at last month’s ceremony.

Asghar Farhadi‘s film comes to UK screens nearly a year after its high-profile debut, British audiences waiting with baited breath to see what all of the fuss is about. The Salesman opens with groups of people seen fleeing a crumbling apartment block; cracks starting to appear all around them as chaos unfolds. Amongst them is the aforementioned Hosseini playing the lead as Emad Etesami,
See full article at The Hollywood News »

Oscar winning film The Salesman, ready to hit Indian theaters

The Salesman, written and directed by prominent filmmaker Asghar Farhadi, is all set to release in India on 31st March 2017. The Taraneh Alidoosti and Shahab Hosseini starrer, in association with Alliance Media & Entertainment & PVR Pictures, have launched the trailer of the film. The trailer is so well-crafted, it will keep you gripped from beginning to end.

Having premiered at the Cannes Film Festival in 2016, winning awards for Best Screenplay and Best Actor (Shahab Hosseini), the film has received immense appreciation globally. The Salesman also won the Academy Award for Best Foreign Language Film.

Commenting on the same, Mr. Sunil Doshi, Director, Alliance Media & Entertainment stated, “In the world of excess, attention deficit disorder, recommendation algorithms imposed by technology, I would like to offer handpicked and curated choices to the audience like a boutique instead of super/hyper market of content! This is what I endeavor to do at Sunil Doshi presents!
See full article at Bollyspice »

Free screening of 'The Salesman' planned in London to protest Trump travel ban

Free screening of 'The Salesman' planned in London to protest Trump travel ban
The film’s director Asghar Farhadi is boycotting the Oscars in protest over Us immigration policy.

Oscar-nominated Iranian film The Salesman will be screened in Trafalgar Square for free to demonstrate London’s “openness to the World”.

The film’s director Asghar Farhadi has already said he will boycott this year’s Academy Awards over Donald Trump’s executive orders on immigration, which restricted travel from seven predominantly Muslim counties, including Iran.

The open-air screening will take place on 26 February, the same day as the Oscars, and has been organised by London mayor Sadiq Khan, actor Lily Cole, producer Kate Wilson and film-maker Mark Donne.

Khan told London paper The Evening Standard: “Londoners have always prided themselves on their openness to the world, and what better way to do that than to come together to watch this powerful film in one of the world’s most famous public spaces.”

The screening, for up to 10,000 people
See full article at ScreenDaily »
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