Scrolling through the credits Everybody knows it is impossible not to notice the concentration of Oscar winners in the cast and in crew last efforts behind the camera Asghar Farhadi, now available on Prime Video after the opening of the 71st Cannes Film Festival. The one available for a film directed by an Iranian director who, in turn, received two statuettes for Best Foreign Film with Separation AND ClientThis royal parterre with a respectable palmares behind their backs, one of those who are inevitably able to raise the quality bar of the project in which they took part.
Particularly the Oscars. Penelope Cruz AND Javier Bardemrespectively, the owners of the coveted award with Vicky Cristina Barcelona AND This is not a country for old peopleto which is added the presence in the cast of another big name in the international arena, namely the Argentinean Ricardo Darinknown for his interpretation of The secret of her eyes, which in 2010 received a statuette for the best foreign film. This means that curiosity and anticipation can only be high given the potential provided by the project.
Everyone Knows – History
IN Everybody knowsmuse Pedro Almodovar she takes on the role of Laura, a woman who returns from Argentina, where she moved many years ago, with her children on the occasion of her sister’s wedding in her country of origin, a small town in the heart of Spain. But some unexpected events will disturb his stay, bringing back a past that has been buried for too long.
It is a synopsis that immediately highlights the ingredients that underlie the story and with which it gives form and substance to the events and destinies of the characters at stake. An Iranian director takes charge of a film that combines psychological thriller and tragic epic, where all is not what it seems, and where lies and resentment are hidden even where it may seem safe. The so-called rule of suspicion completely controls the mixture. Everyone, or almost everyone, is being questioned as a potential perpetrator of wrongdoing to be unraveled in a web of mysteries.
Even with a few too big drops after the first twistthe movie still holds a punch with two hours or more Newsline, relying above all on Farhadi’s ability to play with changes in tone and with the increasingly unsettling and black atmosphere of a circle that shrinks chapter by chapter, bringing the truth to light. But in Everybody knows the acting contribution of both the individuals and the choral element is crucial, essential to ensure that the otherwise risky scenes are charged with a sufficient dose of emotion and tension (see the table discussion between Paco and his wife with the Laura family, or Confrontation at the vineyard between Laura and Paco about the end of their relationship).
Never, as in this case, do actors play a decisive role, giving dialogues and situations that firepower and that ability to interpenetrate that otherwise would not reach the same heights. We are not in the presence of high peaks, with Farhadi himself not touching them as in the past, and also with the actors that were given to him, but in general it is about a film that fulfills the task that was given to it, that is maintain the interest of the public on duty until the epilogue.