Written in early February 2012 for “En Movimiento.” my bimonthly column for Caiman Cuadernos de Cine. — J.R.
The unexpectedly huge acclaim accorded to Asghar Farhadi’s A Separation in the U.S, appears to be motivated by something more than an appreciation for a better-than-average feature. Is this a sufficient reason for it to be the most successful Iranian film to be released in America to date? Why was it named the best foreign language film of 2011 by the Golden Globes, the National Board of Review, and the New York Critics Circle, and the best picture of the year by the most popular American film critic (Roger Ebert), meanwhile placing third as the best picture by the National Society of Film Critics (which rarely considers films for this category in any language but English, and included only one other such film in its latest top ten, Ruiz’s Mistérios de Lisboa)? Why was it nominated for two separate Academy Awards?
I suspect that an important reason for this sort of enthusiasm is the desire of many Americans — or at least Americans who see foreign-language films — not to go to war again, shortly after the (very) belated return of American troops from Iraq, and during the incessant and frightening beating of war drums by all of the Republican candidates for President except for Ron Paul (who still isn’t taken seriously by the mainstream media–and not because of his radical economic positions, but, to all appearances, because he refuses to support another American invasion in the Middle East).… Read more »