This leaves me to believe that Farhadi intended to create a character study (as he always does), but for the first time in his career, the writing got away from him and he ended up with a soap opera-like family drama...

**_Aesthetically flawless and brilliantly acted, but too melodramatic and generic for me_** >_I think there are several layers. There is the first layer of the film that is a thriller - though not necessarily in the meaning of a detective story or a film trying to surprise and confuse the viewer - but this aspect is just a pretext to plunge into the path of my characters. That's where the interest lies, in the path and the secret and the mystery of the characters. So there is this first layer, this general aspect, but if someone is really searching for a thriller, they would not find it her__e. And it was not my intention to make a thriller for the sake of making one._ - Asghar Farhadi; "Director Asghar Farhadi Interview: _Everybody Knows_" (Justin Quinzon); _ScreenRant_ (February 15, 2019) Rarely has a filmmaker been so intimately tied to a place as two-time Academy Award-winning writer/director Asghar Farhadi is to his native Iran. Since his 2003 directorial debut, _Raghs dar ghobar_ [_Dancing in the Dust_], six of his eight films have been set there, collectively mapping out the socio-political soul of the country, examining such socially-realist topics as divorce (_Raghs dar ghobar_, _Jodaeiye Nader az Simin_ [_A Separation_]), crime (_Shah-re ziba_ [_Beautiful City_], _Forushande_ [_The Salesman_]), secrets and lies (_Chaharshanbe-soori_ [_Fireworks Wednesday_], _Darbar…

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