【电影简介】

伊朗电影《一次别离》刻画细腻，感人至深，讲述了两个家庭之间发生的一次摩擦。丈夫纳德与妻子西敏生活德黑兰在一个相对宽裕的家庭，拥有着相对体面的工作，西敏办了签证，希望能把他们的女儿特敏带到国外学习生活，但是纳德年迈的老父亲行动不便，需要人的照料，于是两个人产生了一点分歧，西敏因此不太痛快，决定回娘家住一阵子。

纳德先生要上班，女儿特敏也要上学，留下老父亲无人照料，于是纳德请来护工瑞茨来帮忙，瑞茨是个有孕在身的妇女，丈夫失业，有债务在身，于是决定赚钱予以一定的帮助。一天，纳德的老父亲在瑞茨没注意的时候只身一人走上了马路，瑞茨上街寻找时被车撞到，引发疼痛，于是将纳德的父亲捆在家中，到医院检查。

回到家的纳德发现父亲摔倒在地，昏迷不醒，异常气愤，于是在瑞茨回来后发了怒火，将其赶出门外，有所推搡。当晚，瑞茨流产，两家于是结下了仇怨，他们在几个问题上产生巨大分歧，一，纳德是否知道瑞茨是孕妇；二，是不是纳德推搡瑞茨导致了流产。事实是，纳德曾经在瑞茨与家教的谈话中了解到瑞茨是个孕妇，但是在争执的时候忘记了这一点，至于导致瑞茨流产的具体原因，则不能确定。

但是为了不坐牢、能够继续照料父亲，纳德声称自己并不知道瑞茨是孕妇，而这一点，让他自己在女儿心中的正直形象有所损伤，纳德坚信不是自己的行为导致了瑞茨的流产，而瑞茨的丈夫则认为这个相对富裕的家庭在“仗势欺人”，因而不服从法官的判处，经常出现在特敏的学校附近；为了女儿的安全，西敏希望可以花钱解决这个事情，于是同丈夫纳德协商，但纳德咽不下这口气，他不愿意向莫须有的罪名低头认错，两人争吵不休，女儿则夹在两人之间，纠结万分，最终，为了家庭的和睦和女儿的未来，纳德决定有所让步，用钱解决问题。

【音频文本】

Of all the films at the 84th Academy Awards, 'A Separation' by Iranian director Asghar Farhadi is perhaps the most worthy of the honor. The Best Foreign Language Film facilitates an understanding about modern dayIran better than any newspaper.

The movie begins with a divorcing middle-class couple, Nader and Simin, fighting for custody of their daughter Termeh. The mother, Simin, wishes to leave the country with her daughter, because she doesn't want her to grow up in Iran in the current circumstances. Simin does not specify the circumstances she is concerned about, but that's exactly what this film is all about.

Since the husband, Nader, refuses to leave the country and since the judge refuses to sign off on their divorce, Simin decides to push her husband by moving back with her parents. In her absence, Nader has to hire someone to take care of his sick father. Nazieh is a young woman from the poor suburb who is compelled to take on the job because her family is heavily in debt. Following a misunderstanding and a quarrel between Nader and Nazieh, the latter suffers a miscarriage, opening doors to a clash between two families and social classes.

The divide is sharply defined. Nader's middle-class family resembles a western one in almost every aspect but their appearance and language. They drive around the city and decorate their apartment like 'Metropolitan Home' magazine. But more important is their belief in female independence. Nazieh, on the contrary, ispoor and religious. She is afraid to tell her husband that she works in the family of a single man, and she consults a religious hotline before she changes the old man's dirty pants. The Iranian working class remains devoted to traditional ideas about religion and gender.

Asghar Farhadi is cunning in the progressive presentation of the story. The full display of class tension begins with small hints that develop gradually, from the almost unnoticeable tone of speech to the angriest and most desperate cursing. The suspense is captivating and keeps viewers glued to their seats wonderingwhat will happen next.

Asghar Farhadi has the utmost support from the cast. The five major characters, including Termeh who is played by the director's own daughter, carry themselves in front of the camera as if they were telling theirown life stories. The movie's authenticity is further enhanced by cinematographer Mahmud Kalari and his skills with a handheld camera.

The movie also provides a good comparison with Chinese movie 'the Flowers of War.' Zhang Yimou, director of this 94 million dollar war film, had high hopes for the Foreign Language Film Award, but his deliberate attempt to tug the viewers' heartstrings was not as effective as Asghar Farhadi's casual and neutral narrative in his 800,000 dollar product.

'A Separation' is a sincere exploration on the social issues in modern Iran. By not taking sides the director is able to go deeper into the heart of the problems while at the same time surviving the strict censorship policies. On a scale from one to ten, I give it a nine.

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