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Asghar Farhadi is a film director of such consistent quality and control that the prospect of one of his new films is like buying the latest big fat novel by a favourite author. It sits on the shelf with all the complexity of the human universe lying in wait within. Competing for the Palme d’Or, Farhadi’s latest, The Salesman, sees the apparently happy and comfortable life of a young couple thrown into turmoil by the blows of fate.
