Film
The Salesman
A married couple's ordinary life is upended when Rana, alone in their new Tehran flat, becomes the victim of a violent intrusion — an act she and her husband Emad can barely name, let alone report. As the two rehearse a production of Death of a Salesman, the line between performance and real life blurs, and the film becomes a slow, devastating study of shame, honour and what a marriage can survive. Tense, deliberate, and quietly merciless.
If you liked this
A Separation2011
Farhadi's earlier masterpiece works the same seam of domestic crisis and moral ambiguity, following a divorcing couple whose private conflict spirals into something legally and ethically messier than anyone intends.
But If you want a break from Farhadi's method — patient, dialogue-heavy, morally unresolved — this won't give it to you.

About Elly2009no page yet
An earlier, rawer Farhadi film about a group holiday that curdles after a disappearance, showing how quickly guilt and reputation can consume ordinary people.
But Less polished than his later work, and the ensemble cast takes a while to sort out.
The Hunt2012
Mads Mikkelsen plays a teacher wrongly accused of abuse in a small Danish town, and the film shares The Salesman's interest in how shame, once public, becomes impossible to undo.
But Even more punishing in its final act — this one offers almost no relief.

The wildcard
Something you would not have found on your own.
Death of a Salesman1985
The Salesman's title and structure are built directly around this play; seeing the source illuminates every rehearsal scene and the film's ideas about shattered dignity.
Dustin Hoffman's towering TV performance of the very Arthur Miller play Emad and Rana are rehearsing throughout The Salesman — watching it lets you feel exactly what they're channelling onstage each night.
But It's a filmed stage play from another era entirely, stagey and declamatory where Farhadi is hushed and naturalistic.

More like this (8)
Secrets & Lies1996no page yet
Mike Leigh's family drama shares the same slow excavation of buried shame, told through ordinary people forced into painful honesty by circumstance.
But British kitchen-sink rhythms are gentler and talkier than Farhadi's coiled tension.
Force Majeure2014
A single moment of failure detonates a marriage in this Swedish drama, which shares The Salesman's forensic interest in masculinity, humiliation and what a partner owes after the fact.
But Colder and more satirical in places — it has a dry humour The Salesman never reaches for.

Prisoners2013
A crime thriller about how far a decent man will go once violated, tracking the same slide from victimhood into moral compromise, though pitched as pure genre suspense.
But Much more plot-driven and violent — the philosophical restraint of Farhadi is traded for thriller mechanics.

Doubt2008
A tightly wound two-hander about accusation without proof, sharing The Salesman's refusal to hand you a verdict and trusting the audience to sit with uncertainty.
But Stagier and more theatrical — it never leaves the confines of its source play's structure.

Manchester by the Sea2016
Grief and guilt curdle a man's whole life in this quietly devastating drama, matching The Salesman's patience with pain that refuses easy resolution.
But Slower still, and grief-focused rather than built around a single inciting incident.

Nocturnal Animals2016no page yet
A stylish, unsettling look at how violence against a partner reshapes a relationship and a man's sense of himself, filtered through a much glossier, more stylised lens.
But Its cold visual polish and framing device are a world away from Farhadi's unadorned realism.
Rashomon1950
Both films use a single ambiguous incident to expose how honour and self-protection warp the truth people are willing to tell.
Kurosawa's landmark tells the same story four contradictory ways, interrogating how shame and self-interest distort testimony — the exact fog Emad and Rana get lost in.
But Black-and-white, nearly 75 years old, and its testimony-based structure is more overtly experimental than anything in Farhadi.

Death Wish1974
Same inciting wound — a violent home invasion against a wife — but where Farhadi asks agonised moral questions, this asks none at all, showing what the genre looks like with the brakes off.
Charles Bronson's wife is attacked in their home and he turns vigilante — the same premise as The Salesman, stripped of nuance and played as pure pulpy revenge cinema.
But Crude, dated and morally simplistic where Farhadi is careful — this is the exploitation version, unapologetically so.

People
Cast
Shahab HosseiniEmad Etesami
Taraneh AlidoostiRana Etesami
Babak KarimiBabak
Mina SadatiSanam
Mehdi KoushkiSiavash
Maral BaniadamKati
Mojtaba PirzadehMajid- Sam ValipourSadra
Shirin AghakashiEsmat- Emad EmamiAli
Sahra AsadollahiMojgan
Directing
- Asghar FarhadiDirector
- Kaveh SajjadiFirst Assistant Director
- Parisa GorginScript Supervisor
- Amin KhankalSecond Assistant Director
- Somayeh MirshamsiSecond Assistant Director
- Amin KhankalThird Assistant Director
Writing
- Asghar FarhadiWriter
Production
- Olivier PèreCo-Producer
- Alexandre Mallet-GuyProducer
- Asghar FarhadiProducer
- Hasan MostafaviProduction Manager