Are you convinced by Niklaus Reichle’s account of Asghar Farhadi’s use of melodrama to evade censorship in contemporary Iran?


Are you convinced by Niklaus Reichle’s account of Asghar Farhadi’s use of melodrama to evade censorship in contemporary Iran? Why or why not? Quote at least one passage from “Melodrama and Censorship in Iranian Cinema” and explain how it relates to at least one scene from A Separation.
Based on your understanding of Daniele Rugo’s “Asghar Farhadi: Acknowledging Hybrid Transitions: Iran, Hollywood and Transnational Cinema,” what exactly makes Farhadi’s mix of Iranian and transnational cinema significant in his films? What convinces or fails to convince you about his claims regarding this? As you answer these questions, be sure to quote at least one passage from Rugo’s essay and to relate your answers to at least one scene from A Separation.
What questions do you still have about Riechle’s essay? Rugo’s? A Separation? Share at least three of them here.
Link to movie if you need ( https://vw.123movies.college/movies/a-separation/ ) or ( https://soap2day.ac/MczozMDoiODg4NHx8OTguMzUuMTc4LjE3fHwxNjUxODE5NTA4Ijs.html )


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