She Knew. He Did Not.

Farhadi’s captivating vision is challenging in its own exotic milieu. This who-done-it case is far away from being a mystery- as it claims the title to be known and familiar to everyone- and yet so close to the thrills that you can practically hear the heart pumping faster. His meticulous script and observational humor in early stages spreads the myth around the village stories like you have been here before, you have lived your whole life here and are now about to visit those places once again. This big hash of memory refreshment adapts an apt environment for a marriage, with few bitter equations, sweet memories, humorous locals, a sad untouched and inadequate case that hangs low and above all the old uncomfortable chemistry reincarnated by new easy ones.

Farhadi makes sure that these old testaments are iterated at the most vulnerable state in order to keep the emotions at brisk and audience lost in its malleable characters. And just like people surrounding us, each of them comes with their own baggage, enough to not be easily neglected, but these Sherlock-like vibes of the film gets lost in an eerily beautiful love story.

To pull that out of the bag, after we sink in so deep into it, ought to Farhadi’s greatest triumph, the humility among the lead cast that supports them at critical stage is what we want to hold onto. But Farhadi changes the tone once again, and clearly has some other plans for us, this mellow and poignant act shifts completely into a thrilling crime drama without a notice. This is where the film gets juicier when Cruz’s husband comes home and silent pitches in the room replaces the petty arguments and even pettier suggestions.

The crisp tension created in those dinner table conversations cuts through all your accusations and questions like never before, once again those big bold question tags pops up as you start to blame each other. Farhadi is clearly fiddling with you subconsciously at this stage where half knowledge does grow dangerous. Cruz as the sobbing, panting victim is much more firm in her voice than she appears, her most of the screen time might be to portray a scattered protective guardian but her background tales are powerful enough to keep her husband shut for the rest of the conversation.

But this has always been Bardem’s film, the underdog and the topic of all the gossips, he gets much more wider range to portray, from being suspected to suspecting, from a loser to a winner, his peace will be the only reason to leave us happy after the reel ends. Personally, I prefer them when they are tangling with other characters as they share the screen, those quick glances across the room and a notions to lean towards each other at a point of crisis, speaks enough volume for their characters. Todos Lo Saben is the aftermath of love story, unlike any other equations, this one still hasn’t worn down as it pulsates vividly and paints a clean crime on screen.

Posted by:Arth

you've got a bag of change and here are my thoughts..

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