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Employing semiology to study the academy award-winning director, Asghar Farhadi’s oeuvre up to 2016, this paper wishes to scrutinize his depicted society through the lens of feminism. His female characters’ lifestyle and their way of thinking show they always feel uneasy in Farhadi’s depicted society. It defines woman the same as what other patriarchal societies do, an object in need of protection. In this undesirable condition, women are expected to back their sisters up; however, the opposite is true about nearly all female characters in Farhadi’s cinema. They usually live while denying each other as a sort of defense mechanism, and after Farhadi’s famous accidents, there is always one or more female characters putting the blame on the female victim of the accident, technically speaking, referred to as victim-blaming. This paper wants to seek a psychological answer for this unusual behavior. In this regard, seven movies have been chosen including: Dancing in the Dust (2003), Beautiful City (2004), Fireworks Wednesday (2006), About Elly (2009), A Separation (2011), The Past (2013), and The Salesman (2016).

Asghar Farhadi, the Iranian Oscar winning writer and director, employs a bitter reality, i.e. the clash between tradition and modernity, as the main motif of his works up to 2016. His depicted characters always attempt to act rational, a prerequisite of modern time, but something traditional almost by an accident pushes them back, and as a result, tradition comes out as the winner. The key concern in this paper is to examine how Farhadi, apparently, tries to portray the Iranian society by exercising an objective stance to raise his fundamental question. The paper analyzes how he presents the challenge to his audiences’ judgment by letting them choose freely between modernism and tradition. However, the semiotic study of some of his movies shows his viewpoint is not completely objective and preference of one side over the other is apprehended. This paper seeks to prove that the author is inclined toward modernity in the titular three movies: The Beautiful City, Fireworks Wednesday and The Salesman, which the viewers might miss out on their first seeing of the movies.

In Asghar Farhadi’s film About Elly (2009), concepts of honor, personal and public, are challenged by various intimate hopes; and the preferences of one young woman—an attractive, intelligent, and kind person—are ignored by people who claim to care about her, leading to tragedy. About Elly, is a lovely film, full of color and pleasure and thought, a film of friendship and frolic but it has an evolving form and significant force; and although it takes place in a nation that appears in many grim reports, the life we see is easy to relate to: a group of old friends, college friends, spend a weekend in a beach house together, talking and singing and dancing and speculating about romance, disagreeing with spouses, and trying to guide children. (Farhadi, whose heritage includes drama devoted to martyrs as well as satires, admired playwrights Arthur Miller and Harold Pinter.) Asghar Farhadi wrote for radio and directed television and then made feature films; and his work, informed by complexity and empathy, and inflected with allegory, democratic liberalism, and emotion, includes Dancing in the Dust (2003); Beautiful City (2004); Fireworks Wednesday (2006); A Separation (2011); The Past (2013); The Salesman (2016); and Everybody Knows (2018), the last a film of glamour, romance, and intrigue set in Spain and starring Penelope Cruz and Javier Bardem. Hodjat, frustrated in his desire to work, prosper, and protect his family, is observed but not seen: the symptoms of his circumstances are taken for signs of his personality; and while he seems a natural loser, there is likely blame to be found in circumstances created by others, in society’s injustice, and in the ignorance or inertia of his parents, and in the lack of nourishments and networks that lead to preparation, participation, and prosperity.

Franklin examines two films, namely This Is Not a Film by Jafar Panahi and A Separation by Asghar Farhadi. This Is Not a Film chronicles a day in the life of the benched filmmaker as he takes his meals, watches television, plays with his daughter's pet iguana, and waits to hear back from his lawyer about his pending appeal. The film has moments of levity and great charm. Meanwhile, A Separation, in a very different way, also deals with Iran's rigid legal system and the people who suffer as a result. The psychological dynamics in this film aren't explained. Farhadi trusts people to follow carefully and pick up the important details, which are laid out with painstaking realism.

The Hollywood Rep or ter has said that his films have \"revolutionized new Iranian cinema, pulling it out of the much beaten path of realism pioneered by directors like Abbas Kiarostami and Mohsen Makhmalbaf, and onto a new, highly dramatized and theatrical road.\" Five of the nine features he has directed were chosen by Iran to represent it in the race for the best international feature Oscar: 2009's About Elly, 2Oil's A Separation, 2013's The Past, 2016's The Salesman and this year's A Hero. Farhadi recently reflected on his life and career on an episode of THR's Awards Chatter podcast, recorded in front of students at Chapman University. After I was finished with the TV series, a film producer contacted me about making a feature film from one of the episodes.

If the court finds Farhadi guilty of plagiarizing All Winners, All Losers for A Hero, he could be forced to hand over \"all income earned by the screening of the film in theaters or online\" to Masihzadeh, according to her lawyer, and could even face time in prison. [...]if Masihzadeh is found guilty of falsely accusing Farhadi and defaming him, she faces a prison sentence of up to two years as well as 74 lashes (corporal punishment still being a part of the Iranian penal system). For their coursework, the students were to research and shoot a short documentary based on the idea of \"returning lost things,\" using real-life cases of people who had returned money they had found to its rightful owners. Borowsky adds that Farhadi researched Shokri's story independently but did not contact Shokri as \"the main character of the film, Rahim, not only does not share any character traits with Mr. Shokri but also, in some aspects, he is the polar opposite. [...]there was no need to contact Mr. Shokri for research.\"

Meanwhile, the Iranian official government news agency IRNA has reported that Asghar Farhadi had arrived home \"amid warm welcome of thousands of fans\" at the airport on 9 March. [Asghar Farhadi] said that \"despite baseless guesses\" of some people, he loved Iran and would remain in his \"beloved country for good\", IRNA said.

The director of Iran's only Oscar-winning film, Asghar Farhadi, has denied reports that he is going to produce presidential candidate Ayatollah Akbar Hashemi-Rafsanjani's campaign film, Iranian...

Tehran, 26 February: Iranian Acclaimed director Asghar Farhadi will receive Officer of Arts and Letters from French Minister of Culture Aurelie Filippetti. Credit: ISNA website, Tehran, in English 1100 26 Feb 14