It takes a true artist to make what, on its face, is a mundane family drama and transform it into something profound. The Past, writer-director Asghar Farhadi's follow-up to his 2011 film A Separation, is quiet, profound, and deeply felt. It deliberately doles out the family secrets, lies, duplicities, miscommunications and fear until the story becomes a universal statement about relationships.
In fact, it's so
specific, at first it seems like a simple tale of soon-to-be ex-spouses finalizing
their divorce. Ahmad (Ali Mosaffa) returns to Paris after four years in Iran to
dissolve his marriage to Marie (Bérénice Bejo). They meet at the airport,
narrowly missing each other, as Marie tries to signal to Ahmad that she's
there; he's looking for a missing suitcase and doesn't see her near baggage
claim.
When they finally
lock eyes, there's an uneasy familiarity between them, and soon they're headed
back to the Paris suburbs to her home. It's there that Ahmad reconnects with
Léa (Jeanne Jestin), Marie's young daughter, and meets Fouad (Elyes Aguis). It
turns out Marie's fiancé Samir (Tahar Rahim) lives there, too, and Fouad is
Samir's son.
That's the first
of the secrets in The Past. Ahmad had no idea Marie was going to
remarry. He had no idea he'd be staying in her home with them. And he had no
idea Marie's teenage daughter Lucie (Pauline Burlet) is on the verge of running
away. And Marie wants Ahmad to talk to Lucie because they always had a good
relationship.
Before long, Ahmad
is tangled up in family drama that he wants little part in, but his passivity
gives way to reluctant sleuthing. Lucie hates Samir but won't tell her mother
why, and Marie wants Ahmad to find out. Oh, and Samir's wife is in a coma after
a suicide attempt.
The Past has the elements of overblown melodrama, but
Farhadi keeps the voices quiet, the emotions simmering, the tension rising
until it all comes to a boil. And Farhadi masterfully manages multiple
storylines, leaving major characters off screen for 20 minutes at a time without
abandoning them or leaving story threads hanging—except one, which he does
purposefully and with great skill.
That hanging story
thread—Samir travels to the hospital to visit his wife Céline (Aleksandra
Klebanska) for what is probably the one-hundredth time, but the first time we
see it on camera—is the masterstroke in an expertly directed movie.
After it has
emerged that Marie has unfinished business with Ahmad and Samir unfinished
business with Céline, Samir walks into Céline's hospital room. He takes her
hand and asks her to squeeze it if she can hear him. As the camera moves in on
their hands, we wait and wait and wait, wondering whether there will be a
squeeze. Then the credits roll.
There’s a saying
in some Twelve Step programs: “We will not regret the past nor wish to shut the
door on it.” Some things we’ll always regret. Sometimes we’re stuck in the
past. Farhadi knows that, and has illuminated it in a beautiful way.
THE
PAST
Directed by Asghar Farhadi
With Ahmad Ali Mosaffa, Bérénice Bejo, and
Tahar Rahim
CCA Cinematheque
PG-13
130 min.
Santa Fe Reporter