Themes of Religion, Gender, and Class in The Film a Separation

A Separation movie by Ashgar Farhadi is the subject of various intrigues about a middle-class Iranian family on the verge of divorce hiring a lower-class caregiver for their elderly father. There is an event in the film that represents the conflicts between the two families' paths, class, and gender differences. Class differences, gender, and belief conflicts, they will go to divorce because the mother of the family, Termeh, who thinks that she has to leave Iran and that her children should be raised in a better condition, is not allowed to live abroad. From this point on, the movie begins with a scene in which parents with two different views can leave Iran or not. The first scene that appears in the movie begins with the fact that the mother, who has a modern education and modern life, decides to divorce her due to the inability to persuade her husband to get out of Iran. Although her husband is worried about the future of her daughter, she does not reject the idea of leaving Iran since she has a father who has Alzheimer's disease which her husband has to take care of.

After giving the basic messages about the movie, I would like to touch on what the arguments we will deal with in the movie. If we evaluate the film from a sociological perspective, I will try to explain how socio-economic class differences reflect the lives of families and how gender factors play a role. Besides, the main arguments completed are socio-economic class differences, gender elements, and ways of dealing with religious issues. These elements show how the main character's war inside them. Faradic gives messages on colour politics in the film over historical events in the past.

First of all, I would like to talk about the differences between the upper class and the lower class presented to the audience very clearly in the movie. The ‘separation’ concept is based on two significant event happening in Iran. It was beginning the Revolution in 1963. The variable of events listed here is to recover rural and working-class. The Shah regime was used and comprehensive changes were implemented, portraying deliberately middle –class citizens. The aim is to ensure the support of its lower-class. This point is that the metaphor of religion can never unite people under a flag. After that; The Iranian revolution of 1979 peaked. Thus, 'class struggle started'. We see the class struggle very clearly in the movie. I will proceed with this distinction by giving examples from the movie. . I would like to start with the caregiver of a modern family who is about to divorce, who has Alzheimer's disease, and who takes home to take care of Nader's father. Hocat, the husband of the woman named Razieh, is unemployed because she has been removed from the shoe store where she has been working for many years and Hocat, who has many debts, needs a job. But Razieh does not know that the grandfather will be brought to the toilet, at this point he has difficulty with the concept of religion. He called the religious institution about this issue and asked if it was a sin. At this point, Razieh appears as a conservative and devoted woman of Iranian culture with a complex structure. Razieh, who did not feel guilty and cleaned the man after receiving fatwa from religious channels, states that this situation is very heavy for Nader. But she is the representative of the lower- class, who also has to work because she needs work. Here, the woman washed the man even though she was low-class and kept the religious structure at the forefront, and in this case, she stated that the Iranian culture was complicated in the movie. According to Marx's viewpoint, the issues tell the problem that arises when she expresses the differences of opinion rather than the difference between the two classes. The lower layer imagines the life of the upper class, and therefore there is a sense of laziness and grudge in the lower layer. Thus, class differences emerge very clearly here. Even if the religious system of Iran is a very strong society, be a privileged class that we can describe as the bourgeoisie by using a Marxist language. Nader and Simin are members of the upper class comparison to other classes. Iranian culture is a developing culture. They choose modern life. According to Farhadi, 'upper-class class families say they do not believe in religion. But the liveliness of modernity makes them a kind of liberal devotees.

Secondly, it is how gender factors play a role. Simin is a modern Iranian woman who can drive, work, smoke. She is so mobile that she dares to speak to her husband and even gets close to divorce. Representing the lower - class, Razieh represents a conservative working-class woman. Therefore, she is a woman afraid of her husband who cannot tell her husband that she is working and does not express her opinions. Although Simin and Razieh are both teachers, they are not of the same status. Another gender distinction is; 'Glass factors'. The role of the division between men and women is shown by 'glass metaphor'. Women are often shown in the film having glass mirrors, on the edge of the door, or the edge of the window. The glass logic represents to us the barrier between the coercive or Orthodox organizations and the male figures that exist here. The other colour I will mention is the green colour. The Green Movement is the second event, with protests against elections with regular green colours. If we quote this colour from the film, green colour appears in the kitchen colour of the movie. The message given here is that the woman has a dominant role in the kitchen. The other green colour appears in the door factor. The best message is that Farhadi uses colours to talk about Iran's policy and even discusses the intertwined policies of the social classes. In Iran, it is women who struggle the most, even though they are deprived of many rights. They are more stable and more consistent. In the film, we see that these metaphors outweigh it. The woman who is a carer accepts to work only because her condition is bad and her husband has a lot of debt. The Western world often sees Iranian women as more passive and more underprivileged or housewives, and thinks that Iranian women are in the back ground of the activities. A certain number lives like this, but as far as we can see in the film, we see that Iranian women receive modern education, drive a car, and even practice their profession. Moreover, we see that women are more prominent than men. In the movie, two types of women are at the forefront. So, the conflict between these two women is good, not bad. Because at this point we see the positive side of modern tragedy.

Finally, the main metaphors to be described in the film are religion, gender differences, and class differences. Therefore, we see how high the Iranian culture is developing on the one hand and the religious dimensions on the other. We can see how much the lower class prioritizes religious rules. Even the size that caught my attention at some point in the movie; The Quran is to touch the hand. In this scene in the film, the woman was reluctant to touch the Quran because she was in a dilemma. But her husband strongly opposes this situation. Here we see that; we understand that the religious structure cannot be imposed on anyone by force. We see how internalized the rules and values of the religious structure in which the film is shown after some point.