I’ve never seen an Asghar Farhadi film before Everybody Knows or Todos lo saben even though I have many of his movies in my queue because the previews seem unbearably tense populated with real people in jeopardy. It feels too real to treat like entertainment. When I saw the preview with Javier Bardem and Penelope Cruz, I was completely hooked because I love them and what’s not to love? They’re gorgeous and talented actors who are also married to each other. Take my money. Nevertheless after seeing the preview, I could correctly guess the entire story even if I didn’t know the particulars, which made me hesitant to pay to get traumatized. Cersei of Game of Thrones correctly states, “Everywhere in the world they hurt little girls.”
Everybody Knows is a Spanish language film set in a small village outside of Madrid. Cruz plays Laura, who has returned home with her children for a family wedding. Bardem plays a prosperous vineyard owner and happily married man who is a close friend of the family. Within the first ten minutes of the movie, I figured out the relationship between the leads, and for me, the big reveal was surmised fairly early. It seemed obvious, but I’m a fairly cynical person. I’m more surprised that people would be surprised by a handful of stories that occur with some frequency throughout the world than the actual story. I have no idea if this essential plot point is supposed to be obvious.
Even though I found Everybody Knows completely predictable, I still enjoyed watching it. While the movie itself is restrained in what is shown on screen (no sex or violence), I got a prurient thrill as revelations and simmering conflicts finally were articulated and came to the forefront. Without the horror, it is very Stephen King-esque in the sense that everyone in this small town is connected and knows everybody’s business even though they initially act as if everyone is one big happy family. What makes it a delicious experience is the range in acting. American actors instinctually go too big when emotions run high, but every actor in this movie is so good, and there are so many levels that viewers will find themselves sympathetic with everyone, even if the characters hold mutually exclusive positions. Everyone finally gets to air their grievances at the worst possible time then look wounded at the response to the accusations. It could descend into eye roll worthy melodrama, but it remains realistic and organic enough not to strain a viewer’s credulity.
Everybody Knows is also a gorgeous movie-the people and places, the composition and the camera movement. The hue is dominated by warm browns, which makes it more inviting. You feel as if you’re in the middle of unfolding events. I have no idea how you choreograph the actors’ interactions with the camera going in and out of various proceedings, but it gives a viewer the feeling of being a part of the unfolding drama while maintaining a sufficient enough distance to remain disconnected and objective. The drone camera brings an Antonioni expectation that ends up being unfulfilled, but had a lot of potential. In the end, Farhadi privileges people over a moment that could have simultaneously evoked a more philosophical comment about the progression of film and how it relates to history.
Even though I loved watching Everybody Knows, I do think that it ultimately pulled punches. My imagination was far worse than anything that actually happens so my trepidation before entering the film was a waste. I don’t want to be traumatized, but if I’m not going to be, then don’t possibly dissuade viewers from coming to your movie by evoking so much dread in your previews. Also when I finally found out what happened, there is one person in the scheme that I totally don’t remember, and I have no idea if I was supposed to. Why do you have a grievance? It gets thrown out there, but we either never get more details, or I’m going senile before your eyes so please enlighten me. “I hate your family.” Cool, get to the back of the line and explain why. I guessed incorrectly, but I was close and started to get suspicious of the right character shortly before it was revealed, which was probably deliberate.
What I did love about the story is that Everybody Knows alludes to a lot of historical grievances that tease ethnic and class issues, but never feels like an afterschool special because socioeconomic issues never hijack the spotlight. We never learn a valuable lesson. Even the most enlightened man in the film soon is suspicious of the prime suspects because of prejudice. No one is liberal in the face of actual danger-our worst selves are always lurking under the bonhomie and civility. Lives are ruined, and relationships are strained. There isn’t really anything redeeming that makes it all worth it like most real life tragedies.
Everybody Knows could not have been made in America. I’m not saying that American fathers don’t love their kids. They do, but it would have taken way longer to get with the program, and no one would act as expeditiously. Some fathers would have responded, “Oh well, what does that have to do with me,” shrugged and kept it pushing. Also Farhadi is from Iran so I have no idea if he would even get a visa to enter the US. We can’t have nice things. I also don’t think that the majority, if any, of our best directors could make an entire film in a language that was not their mother tongue or would cast an American in the lead even if the main character was from a different country and was supposed to speak a language other than English. We just don’t have the skills and comfort level to rise to the occasion.
Everybody Knows has the mastery of dialogue usually seen in a play with the breath of life and feel of spontaneity endemic to cinema. When the movie ends, I was left wondering how life would look for the characters as they tried to return to normal life. The movie haunts its viewers long after it is done. Even though it was one hundred thirty-two minutes long, I didn’t want it to end. Most of these people are going to encounter each other again. I wanted to witness that moment. I was left wanting more.
Everybody Knows is an absorbing, engaging cinematic experience that never stoops to the level of a soap opera while tackling family drama and the long-standing hostility with their neighbors. I highly recommend it unless subtitles are too much of an obstacle in this dialogue heavy movie. It definitely whetted my appetite and emboldened me to start watching Farhadi’s older films.
