The Past (2013)

Originally Published in The Daily Nebraskan, 2/27/2014

Memory is incredibly subjective — something you think you remember clearly could be remembered differently by another person. In the next few days, you may remember this review differently than I wrote it. Or you may forget it altogether.

In Asghar Farhadi’s “The Past,” memory is explored through several characters caught up in a web of betrayal, infidelity and suicide. Farhadi’s previous films “About Elly” and “A Separation” both explored dysfunctional family dynamics and communication breakdown. With “The Past,” he explores those themes even further. This is the work of a director trying to show us something deeply personal through unflinchingly realistic filmmaking.

After four years of separation from his wife, Ahmad (Ali Mosaffa) returns to finalize his divorce with his wife, Marie (Bérénice Bejo). When the two of them reunite at the airport, they see each other through a pane of glass. Although they can see each other, neither can hear the other. Their lips move, but no sound comes out. The viewer gets the feeling this sums up their entire relationship.

Ahmad comes back to Marie’s house and finds that a child other than his own is living there. Fouad (Elyes Aguis) is the child of Samir (Tahar Rahim), Marie’s boyfriend and fiancé. Ahmad says Marie never told him about Samir. Marie argues that she sent him an email. Perhaps she did; perhaps she didn’t. Ahmad’s daughter, Lucie, objects to Marie being with Samir, and she has some information she will share with Ahmad that will rock the foundation of Marie and Samir’s relationship.

The film is a series of conversations between people who are trying to figure out why things are going wrong. It’s almost a mystery, and like a mystery, there are multiple twists that let us think we know what’s going on, right before the narrative pulls the rug from under our feet. Every actor and actress in this film fits naturally into his or her respective role, especially Bejo, whose recent turn in the modern silent film, “The Artist” displayed her talent for nonverbal acting.

But let’s get real for a second. Personally, I didn’t like it. I know it’s a good film — it takes a lot of directorial talent to get these kinds of performances from actors, especially the children — but it left me cold. It’s a brilliant drama with a script that balances multiple interconnecting story threads without becoming convoluted, but similar to “The Broken Circle Breakdown,” it amounts to little in the way of a point, a message or a catharsis.

Maybe that’s not fair. The point seems to be to explore the relationships of these particular characters. That’s all fine and good, but the result is unrelentingly dreary. Dreariness is fine, but denying the audience a catharsis is something that leaves a bad taste in my mouth. Then again, because this film is so realistic, by its nature it shouldn’t have a catharsis. Real life doesn’t have one.

It’s important to remember that not all films are entertainment; some are just meant to be a personal statement. Farhadi went through the trouble of finding enough money to get this film made, then spent who knows how many hours working with the actors to get the performance he wanted out of them, to send the message he wanted to send, because it meant something to him.

I can respect that.