450 reviews
Caught "A Separation" in Amsterdam last night, fully unprepared for its greatness. I hadn't been swept off my feet for a while, but this Iranian Hitchcockian drama sucked us in for 123 minutes and left us very, very impressed.
I'm mainly writing this review to assure every non-Iranian IMDb-reader that you absolutely SHOULD see "A Separation". I will be shocked if this movie doesn't win an Academy Award. The acting is great, and the script is probably the best I've seen in five years. The genius of Asghar Farhadi's story is that it piles on the tension and drama without resorting to fireworks, trickery or shock and awe plot effects. It also manages to perfectly balance the plights of several protagonists. Very few screenwriters have this capacity.
If this movie reminds me of anything, it is "Ladri di Biciclette" (Bicycle Thieves), which has a similar seemingly "simple" story setup. But then "A Separation" is much more developed, much more complex, much richer. Go see it.
I'm mainly writing this review to assure every non-Iranian IMDb-reader that you absolutely SHOULD see "A Separation". I will be shocked if this movie doesn't win an Academy Award. The acting is great, and the script is probably the best I've seen in five years. The genius of Asghar Farhadi's story is that it piles on the tension and drama without resorting to fireworks, trickery or shock and awe plot effects. It also manages to perfectly balance the plights of several protagonists. Very few screenwriters have this capacity.
If this movie reminds me of anything, it is "Ladri di Biciclette" (Bicycle Thieves), which has a similar seemingly "simple" story setup. But then "A Separation" is much more developed, much more complex, much richer. Go see it.
And it comes from Iran. The first thing you read on the screen is "In the name of God". Well, anyway it's the best story, the best cutting, the best actors you've seen for long. And few films are that stomach-turning, although there's hardly any physical violence.
A wife wants to go abroad. Her husband can't because he wants to take of his senile father. The wife moves and the husband hires a woman to look after his father.
And then the screw turns, although most of the story takes place in everyday Iranian life. The center of it all is perhaps the daughter, who is nearly teared apart. But it takes time until you realize that. Anyway, I can almost guarantee you sit the film through, until the final post-texts has passed.
So amazingly clever.
A wife wants to go abroad. Her husband can't because he wants to take of his senile father. The wife moves and the husband hires a woman to look after his father.
And then the screw turns, although most of the story takes place in everyday Iranian life. The center of it all is perhaps the daughter, who is nearly teared apart. But it takes time until you realize that. Anyway, I can almost guarantee you sit the film through, until the final post-texts has passed.
So amazingly clever.
- markgorman
- Jul 8, 2011
- Permalink
If mainstream cinema leaves you soulless, see this film.
If you have a modicum of intelligence, see this film.
If you like great acting and directing, see this film.
If you like great writing and editing, see this film.
If you have an interest in law, see this film.
If you are a parent, see this film.
A Separation is not harrowing or depressing. Fear not as I did before. If you don't like subtitles, you will forget they are there. Do not read any more detailed reviews. Go without preconception. A Separation deserves all the plaudits it is getting and deserves a much wider audience. Minimalistic and economic, a Separation is one of the finest, most chiselled pieces of cinema of this millennium.
If you have a modicum of intelligence, see this film.
If you like great acting and directing, see this film.
If you like great writing and editing, see this film.
If you have an interest in law, see this film.
If you are a parent, see this film.
A Separation is not harrowing or depressing. Fear not as I did before. If you don't like subtitles, you will forget they are there. Do not read any more detailed reviews. Go without preconception. A Separation deserves all the plaudits it is getting and deserves a much wider audience. Minimalistic and economic, a Separation is one of the finest, most chiselled pieces of cinema of this millennium.
This is the first Iranian film I've seen, and I'm recommending it to every-one I know. It is so well-crafted; the twists of the plot throw up new moral dilemmas for all the protagonists, which are explored sensitively and without judgement - so refreshingly unlike mainstream American films. I felt sympathy for all the characters, even the threatening Hodjat, full of misplaced rage which often erupts volcanically. And as a footnote, the film felt like an intimate view into a society that our news media portray as monochromatic and extremely foreign. (I am writing this a few days after the UK embassy in Tehran was ransacked)
It seems that a court room drama could be the best place for Frahadi to recreate his very own world and confront us with a short and somehow faraway situations and incidents in life. We think these kinds of happenings and conflicts would not take place in our lives but with his realistic world and characters they seem so close and possible to anyone. Asghar Farhadi loves to put his audience in place of judge, as his other pictures like About Eli or Fireworks Wednesday and here with no fear he takes us straight to a court room. But the thing is that the judge does not provide any help for us to make a clear judgment and surprisingly makes the situation even more complicated. Yes Farhadi doesn't want us to make a judgment, He makes us watch and observe and leave the theater with a big fork in front of us.It Seems that any single decision creates another world full of forks and not taken ways.
when nobody is clearly guilty and the line between black and white is so dim. And again here we are in Frhadi's powerful hands surprised to the end of the movie. You can't leave your chair even for one second because the story never lets you to lose even a single moment. And like a tennis ball we're always being shot from this side to the other. And finally we are the daughter shocked and disable to make a decision. May be we haven't seen or we don't want to see this side of life, where nothing is clear, when small lies and unimportant undone things and unsaid words gang up against us and turn to a big disaster. Frahadi has found his own world and his own language and his own version of life. Something we'd never seen before. We appreciate that. He can easily bombard us with information and surprise us with tiny details that seem nothing but like a snowball rolling down a slope they can form a big drama.
when nobody is clearly guilty and the line between black and white is so dim. And again here we are in Frhadi's powerful hands surprised to the end of the movie. You can't leave your chair even for one second because the story never lets you to lose even a single moment. And like a tennis ball we're always being shot from this side to the other. And finally we are the daughter shocked and disable to make a decision. May be we haven't seen or we don't want to see this side of life, where nothing is clear, when small lies and unimportant undone things and unsaid words gang up against us and turn to a big disaster. Frahadi has found his own world and his own language and his own version of life. Something we'd never seen before. We appreciate that. He can easily bombard us with information and surprise us with tiny details that seem nothing but like a snowball rolling down a slope they can form a big drama.
Asghar Farhadi's new film after the ingenious 'About Elly' is running for the Golden Bear at this year's Berlin Film Festival and, with half of the competition done and the rest of the program not looking too promising, appears to be an almost inevitable winner. Although maybe it won't for that very reason: Jahar Panahi's repeat inability to attend his jury duties because of Iran's government refusal to issue him a travel permit, a retrospective of his works including the 2006 Silver Bear-winning 'Offside', a variety of other Iranian productions and renewed demonstrations in Iran proper put the spotlight firmly on that country's elaborate, yet constrained film industry. All that buzz may outshine the film's artistic value, and prompt the jury to go for a less favored competitor. I should hope not, for Farhadi manages once again to embed lots of social criticism into a straight-laced, realistic narrative.
As in 'About Elly', the story begins rather unassumingly and takes an abrupt turn into a spiral of increasingly dramatic events: Nader and Simin are a couple about to break up over the question of moving abroad, for which they have obtained a permit after waiting for 18 months. Nader, however, has his father to take care of, who is suffering from Alzheimer's. Sirin still wants to leave, but not without her daughter (yes, pun intended) Termeh, a somewhat shy, bespectacled 11-year-old who cannot accept her parents' break-up. She therefore decides to stay with her father, which prompts Simin not to leave the country, but move to her mother. Nader is thereby forced to hire someone to take care of his dad, and a colleague of Sirin recommends the pregnant Razieh. Being deeply religious, she should not work in a single man's household, but her husband has been out of a job for a long time and is threatened with jail by his creditors. Her pregnancy and the necessity to attend to her daughter additionally stress her out. When Nader comes home one day to find his father left alone and tied to his bed, a struggle with the returning Razieh ensues, with catastrophic consequences for everyone around...
This is a much more complicated set-up than in 'About Elly', but it allows Farhadi to put a lot of additional information into his film as may be obvious to those who are just trying to follow the story (I hesitate to give examples because the film is as of yet to be released in Iran, which means an open-source comment such as this one needs to be carefully phrased). Much of the action takes place in courtrooms, where judges try to negotiate between the parties without any lawyers present. There's a lot of familiarity, and also a lot of menace, which succeeds to create the same climate of anxiety, accusation and deceit as in 'About Elly'. The realism of the narrative is embedded into a carefully planned scenography which makes almost every shot linger in the memory. And as in 'About Elly' the decisive moment, the one that solves the mystery is omitted in the picture, only to be explained verbally at the very end.
What makes me feel even more for this film is the fact that it might be the last film of its kind from Iran for some time. Ali Samadi Ahadi, the German-Iranian director of the comedy 'Salami Aleikum' and the upcoming documentary on the July 2009 protests 'The Green Wave', wrote that the film industry has come to a virtual standstill. 'Nader and Simin' was in development at the time of the protests; since then, regulations have become far more repressive, with even established masters like Kiarostami or Makhmalbaf forced to work abroad, and others threatened with jail and work prohibitions, of whom Panahi is only the most famous example. All the more reason to give this film the credit it deserves - winning Berlin may cause Iran's bureaucrats to reconsider, for cinema is almost the last link remaining to our world. Without film, how could we understand that Iranians are a modern people with issues like our own, and not dangerous fanatics as some media and politicians would have us believe?
As in 'About Elly', the story begins rather unassumingly and takes an abrupt turn into a spiral of increasingly dramatic events: Nader and Simin are a couple about to break up over the question of moving abroad, for which they have obtained a permit after waiting for 18 months. Nader, however, has his father to take care of, who is suffering from Alzheimer's. Sirin still wants to leave, but not without her daughter (yes, pun intended) Termeh, a somewhat shy, bespectacled 11-year-old who cannot accept her parents' break-up. She therefore decides to stay with her father, which prompts Simin not to leave the country, but move to her mother. Nader is thereby forced to hire someone to take care of his dad, and a colleague of Sirin recommends the pregnant Razieh. Being deeply religious, she should not work in a single man's household, but her husband has been out of a job for a long time and is threatened with jail by his creditors. Her pregnancy and the necessity to attend to her daughter additionally stress her out. When Nader comes home one day to find his father left alone and tied to his bed, a struggle with the returning Razieh ensues, with catastrophic consequences for everyone around...
This is a much more complicated set-up than in 'About Elly', but it allows Farhadi to put a lot of additional information into his film as may be obvious to those who are just trying to follow the story (I hesitate to give examples because the film is as of yet to be released in Iran, which means an open-source comment such as this one needs to be carefully phrased). Much of the action takes place in courtrooms, where judges try to negotiate between the parties without any lawyers present. There's a lot of familiarity, and also a lot of menace, which succeeds to create the same climate of anxiety, accusation and deceit as in 'About Elly'. The realism of the narrative is embedded into a carefully planned scenography which makes almost every shot linger in the memory. And as in 'About Elly' the decisive moment, the one that solves the mystery is omitted in the picture, only to be explained verbally at the very end.
What makes me feel even more for this film is the fact that it might be the last film of its kind from Iran for some time. Ali Samadi Ahadi, the German-Iranian director of the comedy 'Salami Aleikum' and the upcoming documentary on the July 2009 protests 'The Green Wave', wrote that the film industry has come to a virtual standstill. 'Nader and Simin' was in development at the time of the protests; since then, regulations have become far more repressive, with even established masters like Kiarostami or Makhmalbaf forced to work abroad, and others threatened with jail and work prohibitions, of whom Panahi is only the most famous example. All the more reason to give this film the credit it deserves - winning Berlin may cause Iran's bureaucrats to reconsider, for cinema is almost the last link remaining to our world. Without film, how could we understand that Iranians are a modern people with issues like our own, and not dangerous fanatics as some media and politicians would have us believe?
I'm an Iranian, but I've never been interested in Iranian cinema. I only watch Iranian films when they win awards or receive international recognition. I'm a fan of Kiarostami and Majidi, but I can't really say that I like all of their films. I watched Farhady's previous film (About Elly) about a year ago, and the first thing which struck me was how culturally detached the movie was in its depiction of an event. At the time, I believed this to have been the cause of this director's success. Watching Nader and Simin, however, proved that I was terribly mistaken.
Asghar Farhady's obsession with the concept of judgment is once again the driving force behind his latest feature. The life-like depiction of the Iranian courtroom (which is in no way impartial) places the audience in the Judge's seat from the very beginning. The extremely believable acting and insanely complex script compel the viewer to make up his/her mind just like when reading a court case. As for the screenplay, I'm almost certain the events in this film actually happened in real life, because in no way could one fabricate such a chaotically complex series of events, so beautifully woven into a coherent whole.
Despite being very Iranian in its narrative style and its depiction of Iranian culture (the sanctity of Family, faith, commitment towards parents and married life), I believe that this film could easily appeal to the Western audiences just like a film by Inaritu or Haneke (although I'm pretty sure it won't be nominated for an Oscar for political reasons).
After seeing About Elly, I thought Farhady's success was just a one-time fling, but coming out of the theater, having watched Nader and Simin, I was proud to have another Iranian director added to my international list of favorites.
Asghar Farhady's obsession with the concept of judgment is once again the driving force behind his latest feature. The life-like depiction of the Iranian courtroom (which is in no way impartial) places the audience in the Judge's seat from the very beginning. The extremely believable acting and insanely complex script compel the viewer to make up his/her mind just like when reading a court case. As for the screenplay, I'm almost certain the events in this film actually happened in real life, because in no way could one fabricate such a chaotically complex series of events, so beautifully woven into a coherent whole.
Despite being very Iranian in its narrative style and its depiction of Iranian culture (the sanctity of Family, faith, commitment towards parents and married life), I believe that this film could easily appeal to the Western audiences just like a film by Inaritu or Haneke (although I'm pretty sure it won't be nominated for an Oscar for political reasons).
After seeing About Elly, I thought Farhady's success was just a one-time fling, but coming out of the theater, having watched Nader and Simin, I was proud to have another Iranian director added to my international list of favorites.
- hideous_stranger
- Mar 23, 2011
- Permalink
-- www.Ramascreen.com --
Wow! I didn't have any expectation and that's what probably helped but A SEPARATION is a great drama. Foreign language film or not, this is just an excellent, excellent drama. You can't get a more Oscar worthy material than this. To me what makes A SEPARATION unique is that writer/director Asghar Farhadi takes conflict, secrets, relationships and other elements that we're familiar with and mixes them with the culture, religion and gender elements from that specific region. This film, to a certain extent, lets you in on how the justice system works in a place where some of us may be ignorant about. And it's really not about our way is better than theirs or vice versa, it's just how different some things are done
And this is not just about a divorce or a separation of two individuals The film starts out that way and it ends on that note as well but what happens in between is more of a spin-off story or it stems from when the lead characters Nader and Simin stop being on the same page. A SEPARATION is a very dialogue-driven, a very character driven story, all the actors in this film are marvelous. When the tension is high, they're extremely convincing, I couldn't take my eyes off any of them, especially lead actress Leila Hatami who holds a certain photogenic beauty.
On one spectrum, you have Nader and Simin with their daughter, on the other end of the spectrum you have Hodjat and Razieh with their little adorable daughter. Because Simin takes time off from her marriage with the intent to divorce her husband, Nader has to hire Razieh to take care of his father who suffers from Alzheimer's. An incident occurs that escalates into a courtroom drama but there is actually another incident or a card that Asghar Farhadi hides until it's time to show it further on in the story and the way everything progresses and eventually unravels keeps you intrigued. A big part of what draws me in is the film's depiction of Iranian law and traditions when it comes to divorces and allegations. What may be considered murder, how important it is for an individual to see someone swear on a Koran, how a judge deals with opposing alibis. I don't know how accurate it is but it's nothing short of interesting. It would certainly cause debate and discussion among the audiences as to the fairness of it all. And the story goes through those problems and makes a full round circle back to the separation of Simin from Nader. A highly engrossing film.
-- www.Ramascreen.com --
Wow! I didn't have any expectation and that's what probably helped but A SEPARATION is a great drama. Foreign language film or not, this is just an excellent, excellent drama. You can't get a more Oscar worthy material than this. To me what makes A SEPARATION unique is that writer/director Asghar Farhadi takes conflict, secrets, relationships and other elements that we're familiar with and mixes them with the culture, religion and gender elements from that specific region. This film, to a certain extent, lets you in on how the justice system works in a place where some of us may be ignorant about. And it's really not about our way is better than theirs or vice versa, it's just how different some things are done
And this is not just about a divorce or a separation of two individuals The film starts out that way and it ends on that note as well but what happens in between is more of a spin-off story or it stems from when the lead characters Nader and Simin stop being on the same page. A SEPARATION is a very dialogue-driven, a very character driven story, all the actors in this film are marvelous. When the tension is high, they're extremely convincing, I couldn't take my eyes off any of them, especially lead actress Leila Hatami who holds a certain photogenic beauty.
On one spectrum, you have Nader and Simin with their daughter, on the other end of the spectrum you have Hodjat and Razieh with their little adorable daughter. Because Simin takes time off from her marriage with the intent to divorce her husband, Nader has to hire Razieh to take care of his father who suffers from Alzheimer's. An incident occurs that escalates into a courtroom drama but there is actually another incident or a card that Asghar Farhadi hides until it's time to show it further on in the story and the way everything progresses and eventually unravels keeps you intrigued. A big part of what draws me in is the film's depiction of Iranian law and traditions when it comes to divorces and allegations. What may be considered murder, how important it is for an individual to see someone swear on a Koran, how a judge deals with opposing alibis. I don't know how accurate it is but it's nothing short of interesting. It would certainly cause debate and discussion among the audiences as to the fairness of it all. And the story goes through those problems and makes a full round circle back to the separation of Simin from Nader. A highly engrossing film.
-- www.Ramascreen.com --
- Ramascreen
- Dec 27, 2011
- Permalink
- claudio_carvalho
- Jan 12, 2012
- Permalink
I just saw this movie and I highly recommend it. The way the story was going totally unexpected and many surprises occur throughout the movie. There is a lot of dialogue and over talking, which makes it a bit hard to read the subtitles, but you will manage to understand regardless. The story of the movie is a one that everyone, no matter what the background is, will relate it. The acting in the movie was extraordinary, all the women and girls did a great job, both young and old were superb.
The movie is also educational, since you will get a glimpse of how Iranians are living their lives in Iran. The religious, societal, and family issues that they go through. Also, what I liked in the movie is that it had nothing to do with the Iranian politics, but of course you will be able to see how the regime affects the people.
The movie is also educational, since you will get a glimpse of how Iranians are living their lives in Iran. The religious, societal, and family issues that they go through. Also, what I liked in the movie is that it had nothing to do with the Iranian politics, but of course you will be able to see how the regime affects the people.
- VacantReview
- Dec 29, 2011
- Permalink
This film is in a loop – a vicious circle. The couple argues – they go to court – they argue some more. They bring more and more into the argument – the care-taker woman caring for the son's senile father. Then the care-taker woman's husband joins the fray. Their children join in. They all argue – and they go to see the judge – which is incidentally like Grand Central Station.
Come on folks this is a soap opera. This is not epic, not fantastic, not the best, not brilliant (and all the other superlatives I keep seeing on IMDb). If it were American, Canadian, European, would anyone care for this movie?
REALLY, REALLY OVER-RATED!!! BEWARE
Come on folks this is a soap opera. This is not epic, not fantastic, not the best, not brilliant (and all the other superlatives I keep seeing on IMDb). If it were American, Canadian, European, would anyone care for this movie?
REALLY, REALLY OVER-RATED!!! BEWARE
- MikeyB1793
- Jan 8, 2015
- Permalink
I'll just get to the point,
if you are previewing for something to watch, there is no way you can play the 1st 3 minutes of this film and stop. It hooks you straight in, and for me, I LOVE that in films.
the story is just AMAZING, and the way it's portrayed, the director makes sure you are following behind with EVERY MINUTE OF THE FILM, as it unwinds. the casting is just brilliant, as if they were just born to play this film and then die. they achieve in captivating the emotion of the story VERY well. EVERY SINGLE ACTOR int this film did a great job.
what's even more amazing, it's how low budget this film is (300K us$).
as a conclusion; 3 good things about this film; (1) the story-line, well written and well scripted (2) the cast, well selected, and amazing acting (3) the setting, and the lack of a score! (yes, & it was a great idea!)
if you are previewing for something to watch, there is no way you can play the 1st 3 minutes of this film and stop. It hooks you straight in, and for me, I LOVE that in films.
the story is just AMAZING, and the way it's portrayed, the director makes sure you are following behind with EVERY MINUTE OF THE FILM, as it unwinds. the casting is just brilliant, as if they were just born to play this film and then die. they achieve in captivating the emotion of the story VERY well. EVERY SINGLE ACTOR int this film did a great job.
what's even more amazing, it's how low budget this film is (300K us$).
as a conclusion; 3 good things about this film; (1) the story-line, well written and well scripted (2) the cast, well selected, and amazing acting (3) the setting, and the lack of a score! (yes, & it was a great idea!)
I wouldn't have been more glued to the screen if I watched a blockbuster action movie. I've seen too many of them, I forget them before the credits roll. Now, it's a film without any nudity, crime lords, drugs or swearing to pin me down for a breathless, profound two hours.
What is morally right? What is morally wrong? What is legally right? What is legally wrong? It depends, is the film's answer. And do you know what? I agree. I agree with this answer from a film that comes from the other side of the world, from a country which I perceive to have religion and politics utterly different from mine. Because the film transcends the detail, it just shows the essence of being human. The characters just keep on trying to do the best for them or their family in credible situations which can apply to anyone and anywhere, but the choices they make will conflict at one time or another with some moral or legal tenet. The husband, the wife, the daughter, the old man's carer, the carer's husband, the daughter's teacher, even the judge – they all want to do the right thing, but they don't. Or do. Or don't. Or do. The beauty of this film is that it just tells the story. It doesn't take sides. It doesn't force on us an opinion on whether the choice was right or wrong. If it tried, I probably wouldn't have liked it as much, because it would have to conflict with some of my own views. Everyone has firm opinions, until life carries you to situations like this film's, and then nothing is black and white any more.
For as long as there are creators like the director and writer of this film, there is hope for the independents. A story like this will beat any Hollywood-esque film to the punch. It's flawlessly played and it's technically well done. It doesn't need more to move me.
What is morally right? What is morally wrong? What is legally right? What is legally wrong? It depends, is the film's answer. And do you know what? I agree. I agree with this answer from a film that comes from the other side of the world, from a country which I perceive to have religion and politics utterly different from mine. Because the film transcends the detail, it just shows the essence of being human. The characters just keep on trying to do the best for them or their family in credible situations which can apply to anyone and anywhere, but the choices they make will conflict at one time or another with some moral or legal tenet. The husband, the wife, the daughter, the old man's carer, the carer's husband, the daughter's teacher, even the judge – they all want to do the right thing, but they don't. Or do. Or don't. Or do. The beauty of this film is that it just tells the story. It doesn't take sides. It doesn't force on us an opinion on whether the choice was right or wrong. If it tried, I probably wouldn't have liked it as much, because it would have to conflict with some of my own views. Everyone has firm opinions, until life carries you to situations like this film's, and then nothing is black and white any more.
For as long as there are creators like the director and writer of this film, there is hope for the independents. A story like this will beat any Hollywood-esque film to the punch. It's flawlessly played and it's technically well done. It doesn't need more to move me.
This film won the best foreign language film for the Golden Globes. It blows just about everything this season out of the water. Don't, don't miss it. For all the hate-filled rhetoric spewed about Iran, this film should show the world, like so many other Iranian films, what brilliant artistry exists in this nation, what sensitive beautiful people Iranians are. Iranian actors have been honed and trained since the 1970's when the modern era of Iranian film began. The principal actors: Leila Hatami, Peyman Moaadi, Shahab Hosseini, Sareh Bayat, and Sarina Farhadi (the director's own daughter) are superb. From the first moments of the film you believe them and the truth of their existence. The stark intimacy of the film is stunning. The complicated plot is gripping and holds one's attention to the very end. It will also be fresh and novel for non-Iranian audiences. It is true in every instance to Iranian society and cultural life. Watch it and learn why American politicians have been misleading Americans about Iranian life.
"A Separation" is an intense and powerful examination of the eternal conflict between human emotions, personal convictions and Law, whether political or religious, and it happens to be –I believe- the best film of 2011.
The movie is set in Iran, in an upper-middle class area, and features a series of unfortunate incidents, all guided by sincere and genuine emotions, but that nonetheless end up judged by the Islamic Law. Written and directed by Ashgar Farhadi, the film is a triumph on the field of intelligence as it never patronizes the viewer by pointing a finger on an obvious 'antagonist'. Ultimately, the victims are not innocent, nor the accusers are wrongdoers, and the only 'responsible' is a Law that fails to take into consideration human feelings.
Still, Law isn't negatively portrayed as it remains true to its obligatory neutrality, a notion hinted in the very first scene of the film. Indeed, the realism and intensity of the dialog, a back and forth verbal fight between a wife and a husband sets in the very first minutes what would be the enthralling tone of the film. The core of the conflict is not unusual in family dramas, it's about a child custody, Simin (Leila Hatami) wants a divorce because her husband Nader (Peyman Moadi) refuse to emigrate in a country that would –in her opinion- provide a better education to her daughter Termeh, Sarina Farhadi as a strong-minded adolescent yet the hostage of an inextricable situation, even more ironic because the two parents don't want to divorce.
But Nader gives legitimate reasons to his refusal: he must take care of his father, an old eighty-something man suffering from Alzheimer disease. "But he doesn't know you!" "Yes, but I know him", this brilliant exchange plays like the movie in microcosm; it's all about contradictory opinions guided by legitimate emotions or convictions. When the opening scene ends, those who agree with Simin's arguments understand Nader and vice-versa. If there is ever one, that's the greatest achievement of Farhadi's Oscar-nominated screenplay; still, the force of the script enough couldn't have elevated "A Separation" to such a universal and miraculously unanimous acclaim. The film works as a perfect combination of writing, acting and directing to such an extent that it could have easily been nominated to more than two Oscars without garnering much surprise.
Farhadi's direction is perfect for this kind of narrative as it uses a hand-held camera work in many scenes, as to create the dizzying and uncomfortable effect of documentary-like realism. The film reminds of Cassavetes' naturalistic work in the way it conveys a sort of one-set room intimacy and place the viewer in the unsettling situation of a witness, caught in the middle of a scene, I mean by 'scene' an embarrassing and uncomfortable situation. We just see and watch, and our hearts pound from these displays of aggressiveness, hostility, cries, shouts and thankfully sometimes, love and affection. Farhadi's film is a masterpiece of storytelling on that level, proving that even plain dramas can be as emotionally engaging as thrillers, and the film does it so well that the content can invite any audience to question its own legal system, no more or no less immune from similar issues.
Law has been established by men in order to find the truth within the chaotic succession of facts that can speak for two opposite sides, but the genius of "A Separation" is that it deals with a particular situation where no one is aware of all the facts, even the viewer is left with some hints and clues, and can only assemble them as the movie progresses. Razieh (Sareh Beyat) is a young religious mother hired as a caregiver for Nader's father. She has a miscarriage and pretends it was caused by Nader's brutality. Nader claims he didn't know anything about the pregnancy and was upset because she left his father alone. The domino's effect introduces the peripheral characters as Simin wants to protect Termeh from Razieh's hot tempered full-of-debts husband Hodjat (Shahab Hossein) who vents his anger on the system, and through his scene-stealing performance paints an indirect social commentary on actual Iran.
The film is full of confrontations that are some of the most realistic ever: everything in the dialogs and the acting sounds true and make the whole experience so nerve-wracking that we never know if we're embarrassed to see these lives being destroyed or because the script didn't let us determine which side we're supposed to take. But "A Separation" is beyond these sterile considerations: it's not about sides to take or opinions to make, it's about the innate limits of Law. Law is even incarnated by a decent judge who shows some signs of reason and magnanimousness sometimes, and sometimes can't handle Hodjat's outbursts of anger. In a way, he embodies our position as the powerless observer of a situation that goes out of control because it engages a wide range of emotions, sometimes positive, sometimes negative but always sincere, creative a psychological cocktail about to explode if a resolution doesn't come to appease the nerves.
The resolution, or let's say, the conclusion, is satisfying because it never betrays the film's 'philosophy' and leaves us with the penetrating sensation that we've just watched a miracle, a modest creation whose emotional and intellectual force spoke some uncomfortable truths about human nature and its antagonism with Law's cold realism. And on the surface, it also features an Iran far from the current stereotypes launched by the infamous "Not Without My Daughter", where women aren't all submissive chador-wearers and men macho wife-beaters.
(I feel terrible to pollute this review with these comments because they insult the intelligence of the film, which already takes for granted that 'Iranian are normal people' but regarding the actual and scary political context, I guess it's necessary)
The movie is set in Iran, in an upper-middle class area, and features a series of unfortunate incidents, all guided by sincere and genuine emotions, but that nonetheless end up judged by the Islamic Law. Written and directed by Ashgar Farhadi, the film is a triumph on the field of intelligence as it never patronizes the viewer by pointing a finger on an obvious 'antagonist'. Ultimately, the victims are not innocent, nor the accusers are wrongdoers, and the only 'responsible' is a Law that fails to take into consideration human feelings.
Still, Law isn't negatively portrayed as it remains true to its obligatory neutrality, a notion hinted in the very first scene of the film. Indeed, the realism and intensity of the dialog, a back and forth verbal fight between a wife and a husband sets in the very first minutes what would be the enthralling tone of the film. The core of the conflict is not unusual in family dramas, it's about a child custody, Simin (Leila Hatami) wants a divorce because her husband Nader (Peyman Moadi) refuse to emigrate in a country that would –in her opinion- provide a better education to her daughter Termeh, Sarina Farhadi as a strong-minded adolescent yet the hostage of an inextricable situation, even more ironic because the two parents don't want to divorce.
But Nader gives legitimate reasons to his refusal: he must take care of his father, an old eighty-something man suffering from Alzheimer disease. "But he doesn't know you!" "Yes, but I know him", this brilliant exchange plays like the movie in microcosm; it's all about contradictory opinions guided by legitimate emotions or convictions. When the opening scene ends, those who agree with Simin's arguments understand Nader and vice-versa. If there is ever one, that's the greatest achievement of Farhadi's Oscar-nominated screenplay; still, the force of the script enough couldn't have elevated "A Separation" to such a universal and miraculously unanimous acclaim. The film works as a perfect combination of writing, acting and directing to such an extent that it could have easily been nominated to more than two Oscars without garnering much surprise.
Farhadi's direction is perfect for this kind of narrative as it uses a hand-held camera work in many scenes, as to create the dizzying and uncomfortable effect of documentary-like realism. The film reminds of Cassavetes' naturalistic work in the way it conveys a sort of one-set room intimacy and place the viewer in the unsettling situation of a witness, caught in the middle of a scene, I mean by 'scene' an embarrassing and uncomfortable situation. We just see and watch, and our hearts pound from these displays of aggressiveness, hostility, cries, shouts and thankfully sometimes, love and affection. Farhadi's film is a masterpiece of storytelling on that level, proving that even plain dramas can be as emotionally engaging as thrillers, and the film does it so well that the content can invite any audience to question its own legal system, no more or no less immune from similar issues.
Law has been established by men in order to find the truth within the chaotic succession of facts that can speak for two opposite sides, but the genius of "A Separation" is that it deals with a particular situation where no one is aware of all the facts, even the viewer is left with some hints and clues, and can only assemble them as the movie progresses. Razieh (Sareh Beyat) is a young religious mother hired as a caregiver for Nader's father. She has a miscarriage and pretends it was caused by Nader's brutality. Nader claims he didn't know anything about the pregnancy and was upset because she left his father alone. The domino's effect introduces the peripheral characters as Simin wants to protect Termeh from Razieh's hot tempered full-of-debts husband Hodjat (Shahab Hossein) who vents his anger on the system, and through his scene-stealing performance paints an indirect social commentary on actual Iran.
The film is full of confrontations that are some of the most realistic ever: everything in the dialogs and the acting sounds true and make the whole experience so nerve-wracking that we never know if we're embarrassed to see these lives being destroyed or because the script didn't let us determine which side we're supposed to take. But "A Separation" is beyond these sterile considerations: it's not about sides to take or opinions to make, it's about the innate limits of Law. Law is even incarnated by a decent judge who shows some signs of reason and magnanimousness sometimes, and sometimes can't handle Hodjat's outbursts of anger. In a way, he embodies our position as the powerless observer of a situation that goes out of control because it engages a wide range of emotions, sometimes positive, sometimes negative but always sincere, creative a psychological cocktail about to explode if a resolution doesn't come to appease the nerves.
The resolution, or let's say, the conclusion, is satisfying because it never betrays the film's 'philosophy' and leaves us with the penetrating sensation that we've just watched a miracle, a modest creation whose emotional and intellectual force spoke some uncomfortable truths about human nature and its antagonism with Law's cold realism. And on the surface, it also features an Iran far from the current stereotypes launched by the infamous "Not Without My Daughter", where women aren't all submissive chador-wearers and men macho wife-beaters.
(I feel terrible to pollute this review with these comments because they insult the intelligence of the film, which already takes for granted that 'Iranian are normal people' but regarding the actual and scary political context, I guess it's necessary)
- ElMaruecan82
- Feb 27, 2012
- Permalink
Gripping, tense, heartfelt, powerful, painful, and stirring, Asghar Farhadi's A SEPARATION is an intense drama that captivates like a thriller by boasting astounding performances and a truly compelling narrative arc. It is an Iranian film that centers on intimate domestic issues in the midst of extremely difficult circumstances - a purely humanistic narrative that gets better and better as it progresses, building upon layer after layer after layer of dense situations in which these poor characters are helplessly engulfed within. In creating a plethora of deep emotions that are carried out honestly and never over-the-top by the ensemble's pitch-perfect performances, Farhadi manages to weave together multiple angles that are both morally complex and excruciatingly truthful into each and every one of his primary characters (all of whom exist in the middle-to-lower class) . The plot is patiently set up with its pieces slowly establishing in place in the first few scenes before snaring the audience into a wonderfully played 123-minute thrill ride that places viewers right beside its characters - a feat that is executed through its seemingly naturally-crafted hand- held cinematography in conjunction with genuine acting that rarely calls attention to itself.
The film never resorts to flashy and glitzy elements to further its story - it absolutely has no need to - and proves that sincerity in all its forms whether it be in writing, acting, or directing, no matter the budget nor technical limitations, can result in work of the highest quality. To put it simply, A SEPARATION is (personally) not only the best film of 2011, but arguably one of the most impressive lower-budgeted dramas (under 1 million dollars) in the past decade.
The film never resorts to flashy and glitzy elements to further its story - it absolutely has no need to - and proves that sincerity in all its forms whether it be in writing, acting, or directing, no matter the budget nor technical limitations, can result in work of the highest quality. To put it simply, A SEPARATION is (personally) not only the best film of 2011, but arguably one of the most impressive lower-budgeted dramas (under 1 million dollars) in the past decade.
- SheldonChau
- Jan 8, 2012
- Permalink
The rating that this film has on IMDb gives one a false sense of what is good in this particular picture.
There is lots to like, with an excellent script executed with a high level of skill by all of the major players. The acting of the two male lead roles is particularly excellent, with some moments of genuinely convincing and sudden violence.
Likewise the cinematography is excellent with impressive shooting taking place in all parts of the film, and you really do become immersed in the conflict, thanks to a flowing and coherent narrative and an engaging story.
So why do I not agree with the average 8.5 current rating on IMDb? Well, despite the film dealing with its subject matter with flair, the story itself falls a little bit flat in that ultimately its just a story about a domestic conflict that, for want of a better term, grows arms and legs and becomes bigger than the sum of its parts. Its just a story about an accident where the parties disagree and therefore it never takes off in any meaningful sense but rather ambles along in a plodding fashion until the film ends, suddenly, without anything having really been resolved.
Some might argue this is representative of the complexity of the issues involved and I wouldn't disagree with that, but as a viewer this is a little unsatisfying and although I enjoyed it, this film does not warrant the place among the 'greats' that its current rating affords it. I would recommend it to anyone and it will provide ample food for thought, but then so does an episode of Big Brother if you're determined to think about why people do what they do in complex social situations involving different people with different opinions.
You won't regret watching this film, but I'd be surprised if you are blown away as well.
There is lots to like, with an excellent script executed with a high level of skill by all of the major players. The acting of the two male lead roles is particularly excellent, with some moments of genuinely convincing and sudden violence.
Likewise the cinematography is excellent with impressive shooting taking place in all parts of the film, and you really do become immersed in the conflict, thanks to a flowing and coherent narrative and an engaging story.
So why do I not agree with the average 8.5 current rating on IMDb? Well, despite the film dealing with its subject matter with flair, the story itself falls a little bit flat in that ultimately its just a story about a domestic conflict that, for want of a better term, grows arms and legs and becomes bigger than the sum of its parts. Its just a story about an accident where the parties disagree and therefore it never takes off in any meaningful sense but rather ambles along in a plodding fashion until the film ends, suddenly, without anything having really been resolved.
Some might argue this is representative of the complexity of the issues involved and I wouldn't disagree with that, but as a viewer this is a little unsatisfying and although I enjoyed it, this film does not warrant the place among the 'greats' that its current rating affords it. I would recommend it to anyone and it will provide ample food for thought, but then so does an episode of Big Brother if you're determined to think about why people do what they do in complex social situations involving different people with different opinions.
You won't regret watching this film, but I'd be surprised if you are blown away as well.
- cathalokane
- Feb 19, 2013
- Permalink
I think our day to day life has more than enough material for a good movie. 'A separation' engrosses you into the life of a small Persian family and shows you what happens there. You get to watch this very closely and the final result is a superbly simple and beautiful film. The story is so real, this could have happened anywhere.
There is also another nice movie by the same director - 'About Elly (2009)', but I think I liked this one more.
The movie lingers, makes you think, but its not heavy on your mind, you relish the thinking, it might probably remind you of the events in your own life and what you may have done in those circumstances. In some sense, you actually cherish the fact that well - this is life. There are too many beautiful moments in this film to list, go watch it, satisfaction assured.
There is also another nice movie by the same director - 'About Elly (2009)', but I think I liked this one more.
The movie lingers, makes you think, but its not heavy on your mind, you relish the thinking, it might probably remind you of the events in your own life and what you may have done in those circumstances. In some sense, you actually cherish the fact that well - this is life. There are too many beautiful moments in this film to list, go watch it, satisfaction assured.
A married couple are faced with a difficult decision - to improve the life of their child by moving to another country or to stay in Iran and look after a deteriorating parent who has Alzheimer's disease.
There are not many well-known Iranian films, and this one came out of nowhere and blew everyone away. Mostly, because I think it challenged people's expectations of what Iran can be. And when I say people, I mean Americans, who probably think of Iran as a harsh, backwards place rather than the cultural center it is.
The story itself is a great one, and it should come as no surprise that an Oscar nomination for best screenplay followed it (a great achievement for a foreign film). Again, being Iranian surely helped... this is a story that strikes at the heart of expectations and shows just how modern many Muslims are. (This should not be a shock, but somehow for many people it still is.)
There are not many well-known Iranian films, and this one came out of nowhere and blew everyone away. Mostly, because I think it challenged people's expectations of what Iran can be. And when I say people, I mean Americans, who probably think of Iran as a harsh, backwards place rather than the cultural center it is.
The story itself is a great one, and it should come as no surprise that an Oscar nomination for best screenplay followed it (a great achievement for a foreign film). Again, being Iranian surely helped... this is a story that strikes at the heart of expectations and shows just how modern many Muslims are. (This should not be a shock, but somehow for many people it still is.)
While I give props for the realness of the plot, the movie is downright boring. It can scarcely evoke empathy when showing the harrowing situations the male character endures, and annoyance at the unbearable, unbelievably self-centered wife.
While not liking characters has nothing to do with how good the film actually is, in this case, it's the only thing that stays after you are finished with it.
I'd pass unless you are a husband during a marital crisis looking for a reason to rant at an (sorry for the repetition, but it's the perfect adjective) unbearable spouse.
While not liking characters has nothing to do with how good the film actually is, in this case, it's the only thing that stays after you are finished with it.
I'd pass unless you are a husband during a marital crisis looking for a reason to rant at an (sorry for the repetition, but it's the perfect adjective) unbearable spouse.
- mat-loureiro
- Jul 25, 2013
- Permalink
this is one of the most heart breaking and real movies I have seen this year. you can not leave the movie for even 1 second and characters are such real ones that you start to put yourself in their position and think what would I do? it is a must see movie as Turkish drama lover person i may suggest every drama fan to watch this breath taking real natural real movie. these Iranian people are god's blessings bravo... the actor is like born to act as if he is living his real life. the relationship between daughter and father and wife and husband seem so natural for those who know that culture. I should also add that the performance of the cleaner woman is very satisfactory.