Asghar Farhadi

Asghar Farhadi’s sensitivity to the contours of domestic conflict—in a universal sense but also as it relates to certain segments of Iranian society—is extraordinary. This was also true of A Separation, his previous film, and in the case of The Salesman, his focus on the complicated residue of assault rings true in a way that makes the film necessarily and rewardingly difficult.

Yowza, this thing stressed me the fuck out.