An Iranian film that sheds light on the complex realities of law and family.
A Separation is a sensational drama from Iran about the dissolution of marriage and the consequences brought about by differing values, principles and behaviors. In the film, a woman files for divorce from her husband because she wishes to relocate the family abroad while her husband wishes to keep the family at home in order to take care of his ailing father. But when the divorce request is dismissed, a series of unexpected events places each character in a unique moral dilemma. Tackling issues of pride, religion, money and social class, director Asghar Farhadi forgoes politics to present an impartial view of modern Iran, not to mention a fascinating view of modern families in general. All of this helps distinguish A Separation from the pack as one of the very best foreign language films of the year, as affirmed by the film's multiple nominations and awards.
The story begins with a middle-aged Iranian couple, Nader and Simin (Peyman Maadi and Leila Hatami), who have been married for 14 years, living in the comfortable suburbs of Tehran with their 11-year-old daughter, Termeh. However, life as they know it is about to take an abrupt change when they find themselves in the middle of a very important, life-altering decision: Simin wants to leave the country with the family in the hopes that Termeh may have more opportunities abroad while Nader is insistent on staying in Tehran to take care of his elderly father who suffers from Alzheimer’s.
"But he doesn't know you!" Simin declares. "No, but I know him," replies Nader. Frustrated and angry over their inability to come to a mutual agreement, Simin files for divorce.
At the family court, things don’t go as expected. The judge quickly dismisses their request citing insufficient cause and Simin decides to separate from Nader to live with her parents. Meanwhile, Nader struggles to take care of their daughter and his father while working at a local bank. To help out at home, he takes a suggestion from his wife and hires a young, religious woman named Razieh. At first, it would seem like the perfect arrangement and that things might just return to some semblance of normalcy. But unbeknownst to Nader, Razieh has been harboring secrets. Many of which, when revealed, will lead to tragic consequences for everyone.
At the heart of A Separation is Iran, an established republic that practices Islamic law and has a rich cinematic history filled with popular commercial and art house films. Sadly, many of those years have been tainted by heavy censorship. As early as 1969 and Dariush Mehrjui’s film Gaav (The Cow), through the Iranian Revolution in 1979 and up until today, inconsistent rules and inconsistent applications of those rules have attempted to stifle creativity and expressionism. A film could be banned by the Iranian Ministry of Culture and Islamic Guidance simply for not showing “importance” or “value” or for portraying Iran in a progressive fashion or showing characters without sufficient modesty.
A Separation itself was temporarily banned in September 2010 after director Asghar Farhadi showed support for Iranian filmmakers Mohsen Makhmalbaf and Jafar Panahi who were exiled and imprisoned for their connections to the Iranian Green Movement. Furthermore, when asked why his film wasn’t completely banned upon release, Farhadi commented: "Censorship in a country like mine is a little bit like autumn weather. There may be rain in the morning, then sun later. I can only guess that my film came before the censors when the sun was shining. It may also have helped that I haven't judged anyone in it."
Suffice to say, A Separation has both universal importance and value. Divorce dramas are nothing new, from the heart-wrenching custody battle in Kramer vs. Kramer to the dysfunctional antics of pseudo-intellectuals in The Squid and the Whale. But A Separation rises above clichés on an even keel, without succumbing to melodrama.
Much like Farhadi’s previous works—Dancing in the Dust (2003), Fireworks Wednesday (2006) and About Elly (2009)—divorce and relationship troubles act as a catalyst for an in-depth analysis of domesticity and an introspection of character. Here, each character is well-represented, given their own, unique perspective, set of beliefs, values and predicaments. There is no villain in A Separation—only pride or a refusal to compromise that causes pain or difficulty among strangers and loved ones alike.
Shot entirely on hand-held camera, cinematographer Mahmoud Kalari manipulates the lens in a way that brings more focus to the action without being flashy or overly disruptive. Stairwells, hallways and small rooms are tightly shot, as if sending subliminal vibes of each character’s entrapments. And under Farhadi’s careful direction, the characters and the story are allowed to breathe and speak volumes with subtlety and naturalism. Akin to a game of emotional ping-pong, our allegiances shift throughout the film, as interactions and reactions become more and more meaningful.
Conveying honesty and sincerity with blunt precision, A Separation seeks peaceful resolution. With every predicament, the film’s characters are put through a psychological grinder, attempting to distinguish between right and wrong. Antagonizing them is a legal system that adheres strictly to logic, devoid of emotion, and begs the question: Are laws made for interpretation? Or can empathy also play a factor when ruling on people’s lives? This fascinating and provocative film not only gives us that insight. It gives us a better insight into Iranian life and humanity as a whole.
Mark Sells is a nationally recognized film and entertainment journalist for The Reel Deal. In addition to RELEVANT, he has contributed to The Oregon Herald, MovieMaker Magazine, Moving Pictures, 303 and Film International, and can be heard weekly on 100.3 FM The Sound (Los Angeles), providing the latest in movie news and reviews. Check out The Reel Deal on YouTube, Twitter and Facebook.
