Muristek
The film by Asghar Farhadi is a rare example of capturing how social media influences our postures offline, while barely engaging with the internet itself
A Hero, a tense, mazy drama from the Iranian writer-director Asghar Farhadi, centers on a figure familiar to anyone who’s attuned to the ebbs and flows of internet celebrity: the social media Main Character, the subject of an internet backlash. Rahim (Amir Jadidi, endearing yet inscrutable), is a man imprisoned for debts in the desert city of Shiraz, who becomes a local hero for an act of charity of ambiguous motivation. His girlfriend, Farkhondeh (Sahar Goldoust), found 17 gold coins who she says were left in a purse at a bus stop, but instead of paying toward his freedom, Rahim contacts a bank and arranges a return to their owner. Within days, on furlough from jail, he’s the feelgood story of the moment.
I’ve written before about how there are few films which successfully capture the internet and/or social media without tipping into flat moralism, obsolescence or laughable facsimiles. (Social media and the internet are of course not the same thing, though in today’s climate of platform consolidation, to refer to one is basically to refer to the other, especially in the context of film and television.) This is partly because text phrasing, online references and digital interfaces change so quickly – at a much faster pace than the production of a film, let alone its distribution – that including it in text messages or social media references can jarringly distract from the story at hand; timestamped phone and computer screen risk locking the story into a tight, hyper-specific timeline that can constrain narrative, filming location or cultural references.
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