Motståndaren

"Iman" (Payman Maadi) and his family are living in a Swedish hostel awaiting a decision on their refugee application. Wife "Maryam" (Marall Nasiri) is expecting a baby which is quite a surprise given the two aren't exactly loved-up! Their initial application has been rejected so they must appeal. He comes across as a decent, hard working man and before he took a job delivering pizzas in all weathers, he was a part of the Iranian wrestling team at the Rio Olympiad. He reckons that if he joins a local team, it might earn them some extra brownie points with the immigration authorities. She's less than impressed with this decision, and as he plays more of a part with the team and befriends "Thomas" (Björn Elgerd) we begin to piece together a jigsaw that explains a bit of their hasty flight from home, their strained marriage and the current conflict that neither he nor she can see an easy way out of. On some levels, this works quite well - but there are just too many plot holes and the story evolves in all too bitty a fashion. It doesn't address the elephant in the room directly, but leaves us to make our own assumptions before it ends unsatisfactorily and incompletely. It has a point to make, it just doesn't really make it very forcefully or memorably. It does make you realise just how physical wrestling is, though, but otherwise rather disappoints.

Iman, portrayed by Payman Maadi, adeptly portrays hesitations and second thoughts through his expressions. This movie truly highlights Payman Maadi's acting prowess. Conversely, his wife fails to effectively convey these emotions. Despite the story revolving around Iman and being presented from his perspective, his wife's inability to respond to him hampers their ability to convey the intended message to the audience.

Another compelling aspect of the movie is Iman's dilemma. He must decide between prioritizing himself or his family. Strikingly, neither choice brings him complete satisfaction; opting for his family leaves him feeling unfulfilled, while choosing himself induces guilt.

The acting is good, there's no doubt about that, and the whole film has atmosphere and mood throughout, enough to keep us watching for the whole two hours.

The frustating thing is that the story isn't really told, it's only hinted at in vague terms, so it felt like and opportunity missed.

There are a few reviews here giving it top marks and calling it landmark cinema, but often film makers fall for the temptation of coming here to try and pump up theor movie with top notch reviews. In this case, they've also come back to upvote all their reviews and downvote the real ones, and I expect this review to get the same treatment. It's a shame, it would be so much better to let it find its own audience.

This movie have many layers. The move is an intense psychological drama that deals with masculinity, intimacy and violence, themes that have completely different meanings in a country like Iran than they do in a country like Sweden. After a devastating rumor spreads about him in Iran, Imam is forced to leave everything behind and start over in Sweden, together with his family. But his past refuses to let him go. This is a movie from the very talented director Milad Alami. He tells the story very beautifully and the cast is very good. Talented actors, especially Peyman Moaadi. I can really really this movie and I hope it gets the recognition the film so well deserves.

The main virtue of this beautiful film remains the acting, Marall Nasiri and. Payman Maadi offering admirable portraits of Maryam and Iman.

The second good point is represented by wise manner to explore sensitive problems, from Iranian regime and delicate situation of citizens in non democratic state , the roumors being more significant than the facts, the emmigrant status and the homosexuality, the fragile status of patriarch of family out his comfort zone, the sacrifice, assumed at whole, to be with family and the clash of meet between a young man and a mature one.

The gray part ( not exactly bad ) is the ambiguity. Opponent remains a sketch and, near performances, this supports the poetry of story .