The Salesman briefly reminds you of Ghar, but quickly moves into unexplored territories. Here, the attack takes place within the house. Rana (Taraneh Alidoosti) is waiting for her husband to return home and casually unlocks the door for him before going into the loo to wash up. An unseen intruder breaks into the house and molests Rana. Her husband Emad (Shahab Hosseini) hears about the incident, and it opens the doors to a patriarchal sense of rage in him that he seemed to have locked away.
The movie delivers on all the expectations one has come to attach with Asghar Farhadi’s work. Like his previous breakout, A Separation, this is also a highly volatile story contained within the four walls of a house. No option for the characters but to bounce off the walls!
The nervous energy of every character is palpable and makes you restless. The weight of the story shifts from the actual assault to its impact on the male ego seamlessly and you find yourself pondering a different social issue altogether. In the film, Emad plays Willy Loman (the titular character) in a local production of Death of a Salesman and soon finds himself in Loman’s shoes, approaching insanity in pursuit of a mirage.