Tahir Rahim

review past

Divorce is rarely a scenario in which anyone wins, least of all the children, as A Separation director Asghar Faradi reminds us once again in his latest feature, The Past, which has been widely touted as one of the Cannes Film Festival’s hottest tickets and a sure-fire Palme d’Or frontrunner. While failing to quite live up to the heart-wrenching moral dilemmas of the director’s previous film, The Past offers up plenty of provocative notions about the state of the contemporary family unit, wrapped around a thoroughly engrossing central mystery. The story begins as Ahmad (Ali Mosaffa) is summoned to France by his estranged wife of four years, Marie (Berenice Bejo), to finalize their long-gestating divorce. However, Ahmad soon enough uncovers quite the familial powder keg once he realizes that Marie’s current partner, Samir (Tahir Rahim), has near-enough set up shop with her despite the fact that he has a wife in an eight-month-long coma following a suicide attempt. It is the character of Samir’s wife who, though seen on screen for roughly just a minute in total, forms the crux of the film’s dramatic tension.



What’s the one thing every rundown apartment that a college sophomore is sharing with his five best friends and every $30m mansion that a famous rapper lives in for five months out of the year have in common? The Scarface poster they have framed on the wall in the living room. There are a handful of gangster films that have become modern classics – The Godfather and Goodfellas being the other main two – but in recent years, Brian De Palma’s Scarface has really pulled ahead of the pack when it comes to pop culture relevance and awareness among a younger generation. Which kind of makes sense, seeing as The Godfather and Goodfellas are better-made films that deal with more mature themes and Scarface is the sort of empty, flashy nonsense that would appeal to young people and rappers. Really, at this point, should Scarface even be mentioned in the conversation of great modern gangster movies anymore? It’s got a lot of issues. Jacques Audiard’s 2009 prison epic, Un prophète, isn’t necessarily underrated in the sense that the people who saw it didn’t like it, but it’s underrated in the sense that not nearly enough people, at least in the United States, have seen it. Here we have one of those rare films that is just artsy enough to be respected by film snobs and just entertaining enough to be enjoyed by more casual audiences that it could conceivably become a perennial top contender when it comes to widely agreed […]

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published: 01.31.2015
published: 01.30.2015
published: 01.30.2015
published: 01.29.2015

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