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Architectural Filth And The Heroic Passivism Of Farhadi's Salesman, Vahid Vahdat

Interiority

Architecture in Asghar Farhadi’s The Salesman (2016) is not a mere passive backdrop to an otherwise unaffected narrative; it is an autonomous agent that takes part in the events that unfold, complicates the narrative, and even occasionally defies the ideological position of the film. By analysing interior spaces, architectural elements, urban infrastructure, and maintenance practices, I suggest that 1) the fluid visual boundaries of Farhadi’s spatial settings are instrumental in blurring the borders of truth and morality—themes that are central to his film; 2) the ontological study of architecture, from the moment of excavation to its ultimate fracture/failure serves as …