Countless exceptional films have been made in which voyeurism — whether practiced by the protagonist or the audience — is a significant component. Think Hitchcock’s Rear Window , Polanski’s The Tenant , Haneke’s Caché , Coppola’s The Conversation and Powell’s Peeping Tom for starters, or at the more delectably lurid end of the spectrum, De Palma’s Body Double and Dressed to Kill . Asghar Farhadi ’s elegant but frustrating Parallel Tales ( Histoires parallèles ) treats voyeurism as a jumping-off point to reflect on the uneasy relationship between truth and imagination. But the film keeps circling itself, with diminishing traction. The director and his sibling co-writer Saeed Farhadi loosely based their script on the sixth chapter of the great Krzysztof Kieślowski’s 10-part project for Polish television,  Dekalog , an episode that was expanded to feature length and released theatrically in 1988 as  A Short Film About Love .…