Architecture in Asghar Farhadi’s 2016 The Salesman is not a mere passive backdrop to an otherwise unaffected narrative; it is an autonomous agent that takes part in the events that unfold, complicates the narrative, and even occasionally defies the ideological position of the film. By analyzing architectural spaces, elements, infrastructure, and maintenance practices, I suggest that, 1) The fluid visual boundaries of Farhadi’s architectural settings are instrumental in blurring the borders of truth and morality—themes that are central to his film. 2) The ontological study of architecture, from the moment of excavation to its ultimate fracture/failure serves as a pathological medium to study the troubled masculinity of contemporary Iranian society. 3) Architectural infrastructure, as the materialized memory of the Film’s determinism, prophetically hints at the inevitable tragedy that awaits. The Salesman offers a cross-section of masculinity in Iran. The same ontological section that crosses through Iranian masculinity has been applied to the architectural setting of the film. The death of one building is shown next to and because of the birth of another, as the excavation of the neighboring lot leads to the crumbling of the couple’s apartment. And in this process, we witness an architecture of becoming—one that, like life itself, is never static, complete, or perfect. The spatial settings of The Salesman inevitably register as sites of unrest. Spaces endlessly undergoing reconstruction and maintenance all attest to an architecture that is alive, active, and requires constant attention and attendance. It is as if the determinism of Farhadi’s world is captured in the memory of its architecture. The spaces try to warn us from the beginning about the inevitability of the tragedy. The shattering window is “a metaphor for an upcoming disruption of domestic tranquility,” the large cracks above the couples bed hint a future fracture in their relationship, the explosion of the light bulb in the bathroom signals that the space is doomed with disaster, and the creepily swinging door of the apartment indicates intrusion. The architectural analysis of The Salesman empowers the audience with additional tools to reflect upon questions of masculinity and determinism. Architecture-as-a-reflection personifies the social filth that cannot be decontaminated through vain beautification strategies. Architecture-as-a-stage reflects the temporality of space and its incidental existence vis-à-vis the dominating presence of infrastructural facilities. Architecture-as-a-confinement embodies the oppressive nature of a society in which restriction, surveillance, and control are imposed upon its residents.