【電影簡介】

伊朗電影《一次別離》刻畫細膩，感人至深，講述了兩個家庭之間發生的一次摩擦。丈夫納德與妻子西敏生活德黑蘭在一個相對寬裕的家庭，擁有著相對體面的工作，西敏辦了簽證，希望能把他們的女兒特敏帶到國外學習生活，但是納德年邁的老父親行動不便，需要人的照料，于是兩個人產生了一點分歧，西敏因此不太痛快，決定回娘家住一陣子。

納德先生要上班，女兒特敏也要上學，留下老父親無人照料，于是納德請來護工瑞茨來幫忙，瑞茨是個有孕在身的婦女，丈夫失業，有債務在身，于是決定賺錢予以一定的幫助。一天，納德的老父親在瑞茨沒注意的時候只身一人走上了馬路，瑞茨上街尋找時被車撞到，引發疼痛，于是將納德的父親捆在家中，到醫院檢查。

回到家的納德發現父親摔倒在地，昏迷不醒，異常氣憤，于是在瑞茨回來后發了怒火，將其趕出門外，有所推搡。當晚，瑞茨流產，兩家于是結下了仇怨，他們在幾個問題上產生巨大分歧，一，納德是否知道瑞茨是孕婦；二，是不是納德推搡瑞茨導致了流產。事實是，納德曾經在瑞茨與家教的談話中了解到瑞茨是個孕婦，但是在爭執的時候忘記了這一點，至于導致瑞茨流產的具體原因，則不能確定。

但是為了不坐牢、能夠繼續照料父親，納德聲稱自己并不知道瑞茨是孕婦，而這一點，讓他自己在女兒心中的正直形象有所損傷，納德堅信不是自己的行為導致了瑞茨的流產，而瑞茨的丈夫則認為這個相對富裕的家庭在“仗勢欺人”，因而不服從法官的判處，經常出現在特敏的學校附近；為了女兒的安全，西敏希望可以花錢解決這個事情，于是同丈夫納德協商，但納德咽不下這口氣，他不愿意向莫須有的罪名低頭認錯，兩人爭吵不休，女兒則夾在兩人之間，糾結萬分，最終，為了家庭的和睦和女兒的未來，納德決定有所讓步，用錢解決問題。

【音頻文本】

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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