After an earthquake half destroys their apartment, a couple of actors (both are stars of Farhadi’s About Elly) find a new place which was formerly rented by a sketchy woman, whose former “customer” wanders into the place one day and catches the wife alone in the shower. She is traumatized, and too distracted to carry on with the play. Between rehearsals her husband gets annoyed with everybody and tracks down the assailant, an old man, locking him into their old place until he has a panic attack and dies. I assume the moral ambiguity of it all mirrors something in Death of a Salesman, but I’ve really only seen the version in Synecdoche, New York.
Both Farhadi and Miller are fond of schematic narratives and cannily deployed didacticism; the strengths and weaknesses of this sort of social realism are crucial to assessing the muddled aesthetic achievement of a film that doesnâ€™t replicate the impact of A Separation, the directorâ€™s finest achievement, but avoids the embarrassing histrionics of his previous (and weakest) film, The Past.
I think this is Mina Sadati playing the prostitute – she complains that the play dialogue refers to her having no clothes on, while she’s always wearing a raincoat: