Nader and Simin—A Separation: A Deconstructive Reading

Abstract

Nader and Simin—A Separation is the first Iranian movie which won many<br />international awards as well as admiration from critics and the public. Many reviews<br />by critics, however, have revolved around problems in spousal relationships of<br />couples in different social classes of Iran. Through highlighting the self-evident<br />dismantling elements and unreliable readings in the acting, directing, and even the<br />scenario of Nader and Simin—A Separation, this article argues that besides the<br />couples' disagreement, the central concern of the story is the multi-interpretations of<br />dialogues by the characters throughout the story. These multi-interpretations have<br />their roots in the reversal of social codes which itself can be the result of the transition<br />of a traditional Iranian society to a modern one. Applying a deconstructive approach<br />for the analysis of Nader and Simin—A Separation is not an imposed critical practice;<br />indeed, it is suggested by the movie itself, owing to the presence of a host of binary<br />oppositions, misspoken, and slipperiness of meaning. By drawing on these elements,<br />various components of the movie are examined through a deconstructive approach<br />including the title, class privileges, audience response, suspending techniques, and<br />unreliable language to reveal the disguised values in a transitory period.