"What good did he do?"
Very much In line with Farhadi's past moral inquiries in the structure of winding, precise misunderstandings. But while he retains some of his programmatic moves (Bluntly revealing character intros, juxtaposing finales), new urgency comes in the stacking of previously disparate spheres of interest. Subjects like divorce, perceptions of crime, and familial mistrust are fixtures of films as early as Fireworks Wednesday to more recent fare like The Salesman.
Here, the script intertwines these subjects…