Monday, September 14, 2015
The original title in Persian translates as The Separation of Nader and Simin, but the film is about more separations than just that of the husband and wife played by Peyman Moaadi and Leila Hatami. It's about the separations between parents and children, between the middle class and the laboring class, between the devout and the worldly, and between the judicial system and those it supposedly serves. And for American audiences it also serves as a reminder of the separation that has existed between the United States and the Islamic Republic of Iran for more than 30 years. The movie was the first Iranian film to win the best foreign language film Oscar, and Farhadi's stunning script was also nominated for the best original screenplay Oscar. (It lost to Woody Allen's screenplay for Midnight in Paris.) Whatever we may think of the regime in Iran, the universality of the human problems presented in the film stands in sharp contrast to the usual American attitude toward Iranians as alien and hostile. It struck me especially because this is the second film in a row I've watched about citizens caught in the inscrutable workings of their judicial system. Like the Russians in Leviathan, the two Iranian families locked in conflict in Farhadi's film must cope with the seeming indifference of the judges to their complicated problems. I was feeling complacent about the American justice system until I watched John Oliver's Last Week Tonight segment on the horrific abuses of the public defender system which, especially if you happen to be poor and black, is every bit as cruelly broken as the corrupt Russian courts and the hidebound Iranian ones.