Rob Edelman – Separating Politics and Art
A SEPARATION is one of the very best films of 2011. It is nominated for Academy Awards for Best Foreign Film and Best Original Screenplay, and it would be a worthy winner in either category. However, the country of origin of A SEPARATION is Iran, and so my question is: Should the current, seemingly endless hullabaloo surrounding Iran in any way impact on one’s view of this film– or, if you are an Oscar voter, impact on your decision to vote or not vote for A SEPARATION?
Now first, let me put forth my own feelings about this film. Here, I choose to make a clear distinction between politics and art. A SEPARATION is a quietly powerful drama about a family in crisis. Its story spotlights a son, with a wife and offspring of his own, who is determined to look after his elderly, Alzheimer’s-afflicted father. His wife believes his priorities are askew and decides to leave him, but then an unexpected event adds fuel to a situation that already is fiery hot. A SEPARATION is a sobering, attention-grabbing film which, ultimately, explores issues that are common to countless families, irrespective of nationality. But aside from the issues with which it deals, it is dramatically potent and moving– and its country of origin matters not at all.
A SEPARATION already has won awards at countless film festivals and from various film critics’ groups, as well as the Best Foreign Language Film Golden Globe. But as I say, this film is from Iran, and I suspect that the attention it has been receiving may displease some of those who are repulsed by the political climate in Iran.
Of course, A SEPARATION is not the only Iranian film to be released last year. Another is CIRCUMSTANCE, and my reaction to it was altogether different. Subject-wise, CIRCUMSTANCE is edgy and controversial, but in my view it is not a very good film.
CIRCUMSTANCE is an account of two dreamy Iranian teen girls, best pals who are coming of age in a repressive society that surely will not accept the fact that they are in the process of falling in love. Despite the provocative nature of the material and the themes explored in CIRCUMSTANCE– youthful rebellion versus compromise, religious dogma versus carnal desire, the everyday oppression of women– the narrative is slight and uninvolving and the result is far too disjointed to be effective. There are one-too-many sequences in this film that feature little more than young people endlessly dancing at parties and in nightclubs. After a while, these sequences seem to be little more than filler.
So here we have two films. One of them I wholeheartedly admire. The other I found to be shallow, despite its challenging subject matter. And the fact that they both are products of one of the world’s hot spots is irrelevant.
Rob Edelman teaches film history at the University at Albany. He has written several books on film and television, and is an associate editor of Leonard Maltin’s Movie and Video Guide.



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