Stories of migrant workers making a living for themselves in Western Europe often carry themes of cultural difference and dealing with racial bigotry. However, when handled by Iranian filmmakers the stories focus less on the difference, and more the individual.
Despondent Iranian worker Gholam (Asghar Farhadi) eeks out a living as a can driver in London, living in a squalid one-bedroom “studio” apartment. He spends his time eating at his uncle and aunt’s cafe, chatting to his Westernised nephew, and volunteering at a fellow expats garage. At the cafe, two Iranians recognise Gholam from their old military days.
What begins to surface is a semblance of a plot as these two men attempt to lure Gholam into their group. I say semblance because there isn’t a plot in the traditional sense. Most of the film is Gholam meandering from situation to situation as many plot threads grow but are never fully realised.
Despondent Iranian worker Gholam (Asghar Farhadi) eeks out a living as a can driver in London, living in a squalid one-bedroom “studio” apartment. He spends his time eating at his uncle and aunt’s cafe, chatting to his Westernised nephew, and volunteering at a fellow expats garage. At the cafe, two Iranians recognise Gholam from their old military days.
What begins to surface is a semblance of a plot as these two men attempt to lure Gholam into their group. I say semblance because there isn’t a plot in the traditional sense. Most of the film is Gholam meandering from situation to situation as many plot threads grow but are never fully realised.
- 3/21/2018
- by Matthew Lee
- HeyUGuys.co.uk
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