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While Laura and Ana have made their lives elsewhere, their older sister Mariana (Elvira Minguez) remains in the family home, caring for their crotchety alcoholic father.The village, once vibrant, is now starved of opportunity.Like Farhadi's films A Separation (2011) and The Past (2013), Everybody Knows uses the contained world of the family to explore a breadth of human emotion.With so much jealousy, deception and mistrust, the film could easily collapse into histrionics — this is the kind of story you read about in That's Life magazine — but Farhadi avoids sensationalism by making the world look ordinary and keeping the performances natural.There is a particularly affecting scene where Bea, suddenly forced to confront Paco and Laura's past, rushes from the bedroom to the kitchen as if to escape the confines of her marriage, only to find herself blocked off by the kitchen sink where, shaking with adrenaline, she pours a glass of water.It's a defenceless action, done only to be doing something — and one of those perfect moments in cinema where everything coalesces to create a vulnerability that is startling.Locals are outnumbered by an inconstant flow of tourists and migrant fruitpickers.It's a place where shifting fortunes have led to long-standing resentments, and where everybody has something to hide.

The film is honest and nuanced about how love divides and expands to include the people who come after our initial relationships, and how an old simmering connection can exist alongside equally tender relationships in the present.Across the film, the claustrophobic mood is enhanced by a preference for tight frames, close-ups that conceal more than they reveal, and lenses so long they make the background look as if it is pushing in around people's bodies.Appropriately, Paco is most frequently given this treatment, with the world, wavering and blurred, surrounding his body in a suffocating haze.Drained shades of brown and dusty green dominate, as characters move around the frame with an ease that resembles the unstudied activity of documentary.Most of the conflict is focused around two mirrored triangular set-ups: between Alejandro, Laura and Paco, and between Laura, Paco and his wife Bea (Barbara Lennie).

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