The Deal is a six-part TV series that tells the story of the 2015 US-Iran nuclear negotiations, which took place in the very neutral state that is Switzerland. Focusing on Geneva-based chief of protocol Alexandra Weiss (Belgian actress Veerle Baetens), the show—the first two episodes of which screen today at the BFI London Film Festival—provides an engrossing insight into these sensitive diplomatic talks. The entire series is directed by Jean-Stéphane Bron, and this material feels a particularly good fit for a filmmaker who became known for his political documentaries—including L'expérience Blocher—before branching into fiction.
Weiss is a sort of diplomatic factotum, and the early stretches of the show focus on her seemingly endless duties as she attempts to smooth the ground for the negotiations. She's serious, measured, and does her utmost to remain unruffled—even when being talked down to by Fenella Woolgar's ghastly EU delegate. It is difficult to imagine the rather inscrutable Alexandra having any kind of private life, but this all changes with the introduction of her ex, Iranian scientist-engineer Payam Sanjabi (Arash Marandi), who has been released from prison so that he can play a role in the discussions; suddenly, we see a different side to her.
Sanjabi's arrival demonstrates how the series deftly combines the personal with the political, an aspect of the show that is underlined by a fraught telephone call between the US Secretary of State (Juliet Stevenson) and her aging, ailing mother. The ever-dependable Stevenson is good value in the part, and her scenes with her Iranian counterpart (Anthony Azizi)—who doesn't consider her his equal—crackle and fizz in a way that adds real dramatic heft to the proceedings. There's also a notable role for André Marcon, an actor perhaps best known for his work with Jacques Rivette, including the epic two-part film Joan the Maid.
But The Deal is glued together by Veerle Baetens, who excels as the put-upon Alexandra. She's an assured, magnetic presence, and one suspects that her recent experience behind the camera—her directorial debut, the Belgian-Dutch co-production Het smelt, won Best Flemish Film at last year's Magritte Awards—has helped her further refine her technique as a performer. Baetens carries the series with this complex character, one who must always remain impartial as the often bullish participants—who appear more concerned with not losing face than reaching an agreement—constantly threaten to derail the negotiations.
