Story in New Yorker about obsession w suicide

Nicole Krauss story in current  New Yorker, Seeing Ershadi, holds your interest and attention throughout though I think that in the end the story misses an opportunity  in brief the story is about two young women - the narrator, a dancer, and her best friend, Roni, an actor - who are smart, talented, successful for their ages, multinational - i.e. Privileged in many ways - tho both dealing e issues of depression and self-image. Strangely the two friends bond over their attraction to even obsession w the protagonist in an Iranian movie of about 15 years ago, taste of cherries. Probably most reader should of this story have not seen the movie; I have, however, and NK's summary of the movie is quite accurate: a man ( not a pro actor NK tells us) drives around modern-day Teheran seeking someone who will help him commit suicide. The two women obsess about this movie so much that both record instances of seeing this acot or his image - possible but unlikely. Why this fixation on death? The 2 seem to have much to be proud of re their young lives and achievements, yet the seat wish remains a strange magnetic pull on the in moments of personal and career crisis (less is said about love and marital crises tho both women have endured these travails).  It's almost like the romanticism of suicide a la Goethe. Perhaps focusIn on the suicide attempt in this movie substitutes for the real thing and keeps thes / alive.  But NK leaves that unexamined or unstated. In that I think she misses an opportunity, which is the political context of the movie - the repression of art and expression in Iran, the filmmaker's struggle to film this movie, a film about a man intent on suicide yet we know nothing about him, nothing of his back story nor of his relations or lack thereof w any other person - surely the adulation the two successful young women have for this handsome (non)actor rings hollow and immature compared w this man in agony in a closed, repressive culture.