Farhadi's latest, the nominated The Salesman, is slowly rolling into American theaters right now -- it's another domestic drama interrupted by an act of violence, this one involving a pair of actors (who are putting on a production of Arthur Miller's Death of a Salesman), a collapsing building, and finding the line between paranoia and self-defense. Peter Bradshaw of The Guardian calls it "a well-crafted, valuable drama," the Star-Ledger says "every moment holds a revelation," Dana Stevens of Slate describes it as "masterful," and A.O. Scott of The New York Times commends Farhadi for "astonishing control" that is both "riveting and hard to watch."
Sounds strong, no? Considering that movies are known around the world as the "empathy engine," and that every politician at least pays lip service to wanting to build bridges to a peaceful world, you'd hope that a filmmaker committed to universal storytelling would be welcome anywhere, right?