Călin Peter Netzer’s Child’s Pose, more than the complicated milieu it depicts, is at odds with itself.
Farhadi utilizes living quarters as an area of adversity rather than comfort.
As indicated by its title, the film is super-sensitive to class divisions.
Understanding Screenwriting #93: The Deep Blue Sea, A Separation, Pauline Kael, & More
Terence, meet Terence.
I’ve seen them all. Most of them I wish I hadn’t, but such are the perils of this job.
It shouldn’t come as a surprise to anyone who truly understands how the Oscars work that the still above isn’t from Asghar Farhadi’s A Separation.
Bridesmaids is just glad to be invited, no? A “memorable” quote from the film according to IMDb: “You’re like the maid of dishonor.”
Let’s keep the voting blather to a minimum and focus on what seem to be the most pivotal factors in this year’s top race.
This category is historically a haven for the quirk, verve, and humor that can’t quite crack the tougher races.
The directing race has boiled down to nine names, four of which you can pretty safely etch into stone.
Which performance will land Jessica Chastain her first Oscar nomination?
See below for a list of the films that just missed making it onto our list of the best films of 2011, followed by our contributors’ individual ballots.
To get an idea of A Separation’s thematic scope, imagine a slow moving avalanche that starts with a single bad decision.
Unpredictable twists, a gathering sense of dread, and the tender humanism that infuse it all make Farhadi’s film absorbing.