Writer-director Asghar Farhadi has been making great dramas since 2003’s Dancing in the Dust, but it was his 2011 masterpiece, A Separation, that deservedly pushed him into the worldwide spotlight. A tense study of marital constructs and gender equality, A Separation packed a wallop and rightfully marked Farhadi as one of the world’s finest filmmakers. The Past may not reach the exact same majestic heights as its predecessor, but it’s still way up there.
We meet Ahmad (Ali Mosaffa) as he arrives in France to finalise his divorce from Marie Brisson (Bérénice Bejo). Marie is in a relationship with Samir (Tahar Rahim), whose wife is currently in a coma. Marie and Samir aren’t exactly on stable ground, and Ahmad’s arrival is another factor that sets off a series of dramatic revelations and underscores how, sometimes, the past works its way back into the present. As is often the case, children are the ones left in the wake of such breakdowns.
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On its most basic level, The Past reads like a soap opera: relationship tensions, the pressures of raising children, the frictions between exes and new partners — it’s all here. But Farhadi’s impressive screenplay takes what could have been simple melodrama and infuses it with tension and gravitas. He explores how all things in the past — whether minor or major incidents, lies, loves, or even moods — can shape the present. That may be true in every element of life, but arguably none more so than in relationships.
As Ahmad is drawn into the lives of this troubled family, he struggles to decide when he should act out of responsibility and when compassion should lead the way. He becomes our quiet detective, slowly unravelling the issues affecting Marie’s teenage daughter and the mystery of why Samir’s wife lies in a coma. To say more would be to say too much; suffice it to add that every revelation lands with force. Farhadi crafts a relationship drama that frequently feels like a tightly constructed thriller. It’s a film that keeps you on your toes while pressing the right emotional buttons with precision.
The cast is absolutely fantastic. Bérénice Bejo, who shone in Michel Hazanavicius’ Oscar-winning The Artist, delivers a powerful turn here. She’s wholly convincing as a mother prone to emotional peaks, whose reliance on others has become a hindrance — especially for her children. Ali Mosaffa and Tahar Rahim are equally impressive. Mosaffa’s gentle presence gives us a clear lens through which to see these lives, while Rahim renders Samir’s turmoil with disarming honesty. Also worthy of strong mention are the child actors, who bring Farhadi’s emotional backbone to life. Their innocent eyes witness the unfolding chaos — confused, hurt, and heartbreaking. Pauline Burlet adds a final touch of class as Lucie, Marie’s teenage daughter.
The Past is potent filmmaking: a multi-layered analysis of pain and love, and how they can bind us together or pull us apart. Farhadi infuses the film with a strong sense of character and emotional depth, culminating in a final moment you won’t shake in a hurry. Our past is a mix of highs and lows; let this film be one of the former in your viewing history.
