Separation"
Berlin film review: "Nader and Simin, A Separation" - Just when it seemed impossible for Iranian filmmakers to express themselves meaningfully outside the bounds of censorship, Asghar Farhadi's "Nader and Simin, A Separation" comes along to prove the contrary.
Berlin film review: "Nader and Simin, A Separation" - Apparently simple on a narrative level yet morally, psychologically and socially complex, it succeeds in bringing Iranian society into focus for in a way few other films have done. Like "About Elly," which won Farhadi the best director award at Berlin two years ago and which went on to find release in many territories, it has the potential to engage Western audiences with the right handling.
Berlin film review: "Nader and Simin, A Separation" - Apparently simple on a narrative level yet morally, psychologically and socially complex, it succeeds in bringing Iranian society into focus for in a way few other films have done. Like "About Elly," which won Farhadi the best director award at Berlin two years ago and which went on to find release in many territories, it has the potential to engage Western audiences with the right handling.
Berlin film review: "Nader and Simin, A Separation" - Politics are ostensibly out of the picture, though the whole premise is based on a middle-class couple's divorce because the wife Simin (Iranian star Leila Hatami) wants to move abroad to find a better future for their 11-year-old daughter Termeh (Sarina Farhadi). But that may not be the real reason for the separation.
Berlin film review: "Nader and Simin, A Separation" - Nader (Peyman Moaadi, seen in "About Elly") is a decent man but a stubborn one, and he neglects his wife. Too proud to ask her to stay with him, he lets her move back to her mother's place while he and Termeh are left to look after his aged father with Alzheimer's disease. He hastily hires a poor woman named Razieh (Sareh Bayat) as a daytime caretaker, who signs on without telling him she's pregnant (or does she?). A few days later he fires her and shoves her out the door; she falls on the stairs (perhaps) and has a miscarriage. The rest of the film is a crescendo of tension as Razieh's hot-headed, debt-ridden husband Hodjat (Shahab Hosseini) takes Nader to court for manslaughter.