An Analysis of Parallel Plots and Investigation of Multiple Viewpoints in Asghar Farhadi’s Script for Separation

The present paper aims to answer the following key questions: Why the script ofSeparation cannot be reduced to a full abstract? Why are Nader, Simin, Termeh, the divorce judge, and to some extent Nader’s father are personages, but Razieh, Mr Samadi, Somaieh, Mr Samadi’s sister, nor the judge in Razieh’s case against Nader are not? Why Razieh and anyone else from her family have no activist role? Why the narrative hasmultiple plots? How is a narrative with multiple plots conceivable? Is it possible at all? To answer these questions, it is assumed here that despite its many features, the script is possibly defective, and hence the above questions. To prove this, the authors begin with the movie’s strengths, and then move on to focus on one of one of deep, main elements of narration, namely the plot, to show that each sequence of the film is beautiful on its own but weaknesses emerge in the array. It is exactly at this stage that the plot shows these incorrect arrays.