The wife gave it to the piano movers.
Jump to content
Posted 04 March 2012 - 09:11 PM
Posted 04 March 2012 - 09:14 PM
Posted 04 March 2012 - 10:13 PM
Posted 04 March 2012 - 11:53 PM
Edited by Overstreet, 04 March 2012 - 11:53 PM.
Posted 05 March 2012 - 01:25 AM
Edited by vjmorton, 05 March 2012 - 01:26 AM.
Posted 05 March 2012 - 10:01 PM
Posted 10 March 2012 - 06:10 AM
A Separation also throws into relief a major theme of Iranian cinema that is rarely acknowledged as such, at least outside of Iran — namely, class difference. I can’t speak with any authority about Farhadi’s work because I haven’t seen any of his four previous features, but it does seem evident to me that even though the Persian title of his latest film translates as “[the] separation of Nader [the husband] from Simi [his wife],” which is the major focus of all the reviews of the film I’ve read, the true separation and conflict that produces and sustains most of the film’s drama is between the classes of the two families involved, comfortable middle-class (in the case of both Nader and Simi) and struggling working-class. And if one considers most of the major classics of Iranian cinema, starting with Farrokhzad’s The House is Black and Golestan’s Brick and Mirror in the 60s and continuing through the features of Makhmalbaf and his family, Kiarostami, and Panahi over the next four decades, the huge gap between the rich and the poor — which has lately become a big issue in American politics, for the first time since the Depression, but has been central to Persian culture since its inception — is clearly an inextricable part of their subject matter.
There are also significant differences between the way gender issues are perceived in Iran and in the West. My Iranian-American friend and sometime writing collaborator, Mehrnaz Saeed-Vafa, who has seen (and mainly prefers) Farhadi’s earlier features, points out that the huge obstacles Iranian women face in getting divorces — the subject of an excellent 1998 documentary, Divorce Iranian Style (Kim Longinotto & Ziba Mir-Hosseini) — are essentially ignored in A Separation, thus challenging the film’s claims to treat the positions of Nader and Simi with equal amounts of sympathy. In short, what audiences don’t know can be as pivotal in determining the meaning of certain films as what they do know.
Posted 16 March 2012 - 11:28 AM
Edited by Overstreet, 16 March 2012 - 11:41 AM.
Posted 16 March 2012 - 12:33 PM
Edited by Timothy Zila, 16 March 2012 - 12:35 PM.
Posted 16 March 2012 - 12:36 PM
Posted 16 March 2012 - 12:48 PM
Edited by Timothy Zila, 16 March 2012 - 12:55 PM.
Posted 16 March 2012 - 12:56 PM
Edited by Overstreet, 16 March 2012 - 12:59 PM.
Posted 16 March 2012 - 06:24 PM
Posted 16 March 2012 - 07:39 PM
Edited by Overstreet, 16 March 2012 - 07:39 PM.
Posted 17 March 2012 - 08:24 AM
Posted 27 March 2012 - 10:45 PM
Edited by Nicholas, 27 March 2012 - 10:46 PM.
Posted 07 April 2012 - 07:03 PM
Posted 01 November 2012 - 08:55 AM
Edited by Christian, 01 November 2012 - 08:56 AM.
Posted 01 November 2012 - 10:02 AM