El Espectador como Caballero de la Angustia. El Cine de Asghar Farhadi

Abstract

This article examines Asghar Farhadi's cinema through the lens of Søren Kierkegaard’s existentialist philosophy, focusing on the presence of truth and freedom in his work. Farhadi builds narratives that deprive the viewer of certainty, forcing them to make ethical choices amid ambiguity and anxiety, without relying on universal moral frameworks. His austere cinematic style — avoiding incidental music and explicit judgments — places the spectator in a Kierkegaardian position: alone before the act of choosing. Ethics, therefore, is not a system but a subjective experience, and truth is fragmented and unstable. Watching a Farhadi film becomes an existential experience and a radical ethical confrontation.