Adversaire

Interesting story with two amazing actors. The plot seems to be focused on Iman's dilemma (to come out or not to come out) but is also entails many powerful topics such as the nostalgia for the country you had to flee, the psychological violence of the process of seeking asylum in Sweden, the duty to be a flawless head of family, the homoeroticism of wrestling, and living between two distinct languages, landscapes and cultures.

The Swedish winter is both beautiful and threatening, it might be more than a season but rather the ultimate test for Iman: will he be granted asylum, will he and his family switch from trauma to a renaissance? The presence of the wolf reminds us than there is always obstacles, and than you might be your own worst opponent.

This film as also feminist through the resilience and dignity of Iman's wife, Maryam, who precisely does not want to become somebody's domestic housewife, but wants to enjoy her own slice of agency and happiness. She knows how to read an open secret and she knows she deserves more than a life of sacrifice and shame.

Both Iman and Maryam derserve a much better life, but can they achieve it together? What happens when you find the strength to choose the path to authenticity?

A very touching, complex, humanist film.

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.

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 .

"Opponent" struggles with emotional depth, uneven pacing, superficial exploration of queerness, underdeveloped supporting characters, and underutilization of its eerie setting despite promising ingredients.

The film's twists are telegraphed early on, robbing them of impact. Viewers familiar with the genre will see them coming, and the lack of surprise undermines the tension.

Despite Payman Maadi's strong performance, the film fails to deliver impactful storytelling, leaving viewers disappointed and yearning for more depth and nuance.

On a positive note, the snowbound landscapes of northern Sweden create an eerie backdrop. However, the film doesn't fully capitalize on this setting. The cinematography hints at something more profound, but it never fully materializes.