I believe that a nice contrast was setup between Nader and Simin with regards to how MUCH information they each provided. We seem to learn so much about Nader’s thoughts and troubles and actions and very little of Simin’s.
But notice, in Nader’s complexities lay a lot of uncertainties, partial truths and lies and hidden motivations, which are revealed throughout the film, while in Simin, her very few visible motivations and goals seem to be far more clear and even the small bit of lying she did that I’m aware of in the movie (staying at her mother’s instead of leaving the country) seemed quite obvious to the main characters.
But you do get a feeling of contrast; Nader SEEMS to be more open and transparent and Simir SEEMS to be secretive in her motivations yet each may possible be their opposite.
Yet again, perhaps there is a gendered distinction in Iranian society for expression of emotion. where women are expected to hold back whereas men are allowed to freely express in some circumstances.
But in any event, the ‘thickness ‘of Nader’s contribution vs the “thinness” of Simin’s contribution with the resulting dissatisfaction in some of the audience over Nader’s privileged ability to exude emotion and the poverty of Nader’s expressive allowances – and likewise for all characters – Is a fascinating thing to notice and I hadn’t until you’d brought it up.
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