It is difficult to give any rational evaluation of Farhadi's works, because he really likes his works and admires his talent too much. The Nobel Prize in Literature owes Farhadi a trophy. The narrative mechanism can be said to have not developed much in recent decades, but Farhadi has really innovated a narrative mechanism that is unique to him. When you are a creator, you can remove the artificial structure conflict, innovate the subject matter, break the linear sequence or multi-line parallel, and use all possible means to install the complex and high-level narrative technology, but no matter how toss the artificial The imprint of the trace is as profound and obvious as the Great Rift Valley, and no matter how hard you try, it will inevitably reveal a vulgar smell. This point covers countless so-called masterpieces in everyone's mind, and almost few of them can escape this frame. Farhadi's narrative uses its blandness and accumulation of real life fragments, you can't imagine how magically, magically and perfectly constructs each and everyone profoundly and skillfully, directly hitting the dramatic conflicts in the depths of social human nature, one by one The details bury the foreshadowing until finally igniting one by one conflicting lead flint. Looking at his works always makes one feel ashamed how he did it without any trace, how to do it so real, so wonderful, so perfect. Editing a few clips can create an allegorical warning of conflict. I sincerely think that if the literary drama circle is still rational and sober, then the Nobel Prize for Literature really owes Farhadi an award.
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