Nader and Simin—A Separation: A Deconstructive Reading

Nader and simin—a separation is the first iranian movie which won manyinternational awards as well as admiration from critics and the public. many reviewsby critics, however, have revolved around problems in spousal relationships ofcouples in different social classes of iran. through highlighting the self-evidentdismantling elements and unreliable readings in the acting, directing, and even thescenario of nader and simin—a separation, this article argues that besides thecouples’ disagreement, the central concern of the story is the multi-interpretations ofdialogues by the characters throughout the story. these multi-interpretations havetheir roots in the reversal of social codes which itself can be the result of the transitionof a traditional iranian society to a modern one. applying a deconstructive approachfor the analysis of nader and simin—a separation is not an imposed critical practice;indeed, it is suggested by the movie itself, owing to the presence of a host of binaryoppositions, misspoken, and slipperiness of meaning. by drawing on these elements,various components of the movie are examined through a deconstructive approachincluding the title, class privileges, audience response, suspending techniques, andunreliable language to reveal the disguised values in a transitory period.