A beautifully acted ensemble piece, Asghar Farhadi’s Everybody Knows starts with a hyper-realistic introduction to a cozy world—a bath of golden light, goblets of wine, warm hugs, and festive music as Laura’s (Penélope Cruz) large, loving family gathers for a wedding. But the film’s focus on this family’s day-to-day interactions takes a sharp turn when a crisis puts the main characters, including Paco (Javier Bardem), Laura’s old and dear friend, to the test, throwing everything about their lives into question.
Two years ago, on what turned out to be his last trip to the United States, I spoke with Farhadi in person about The Salesman. (The filmmaker, who has a green card, has stayed away since then, in protest of President Donald Trump’s travel ban.) Earlier this week, we spoke over the phone about Everybody Knows and the subject of the universal human instinct to distrust outsiders, the persistence of the past, and the strong similarities between Spanish and Iranian culture that make Farhadi feel at home in Spain.
There’s a subplot in Everybody Knows about the anti-immigrant prejudice in Spain, which makes people point fingers at foreign grape-pickers the moment something goes wrong. Were you trying to say something about how that kind of poisonous thinking seems to be spreading around the world?
My point I’m making is more general. It was this very universal reflex that we have that when there’s something wrong, suspicion is first directed against not just immigrants but the stranger, the outsider. Whereas problems may actually come from people around us—relatives, friends—and that is the case in this film.
There are a lot of reminders in Everybody Knows, starting with the title, of how hard it is to keep a secret in a small town.
Because I wanted to deal with the notion of secrets, and secrets being related to the past of the characters, I had to choose a society in which people are aware of each other’s pasts. If I had put my story in a big city it wouldn’t have made sense. People don’t know where the others come from; they aren’t aware of each other’s background. I wanted it to be in a small community in which people pretend that they don’t know anything about the others, but in reality they know everything. Read the rest in Slant Magazine.
