A Separation proves less is more

The Iranian film nominated for Best Foreign Language Film and Best Original Screenplay, A Separation, is rewarding and memorably old-fashioned. It had no CGI, no fancy direction, no shaky-handheld cameras, no narration. It's a drama. It could have been made in 1980 or 2011; the themes are timeless. It has a powerful story to tell about people going through very hard times. The acting was so good I forgot I was watching a movie. The plot was so complex I rewound back to a pivotal moment to watch it again. The direction never got in the way of the story (unlike The Tree of Life, to name an obvious offender).

This young lady broke my heart.

It is an unusual film to receive such positive word-of-mouth because it is so different from the films that usually get accolades. Drive had slick, stylized direction and hip stars. The Descendants had Oscar pedigree and quirky characters grieving in their own ways. The Tree of Life has insufferable pretentiousness. The Artist and Hugo have "movie magic." In fact, I think this film is better than The Descendants, Drive and The Tree of Life. The Artist, however, was pretty special, and I haven't seen Hugo yet.

I think the fact that A Separation lacks so many things that Hollywood spoonfeeds us every year could work to its advantage. This humble drama reminds me of The Hurt Locker. Everyone put their money on Avatar. It made movie history! It's so big and shiny! Then the little movie that could, the one that showcased acting and storytelling first and direction and effects and editing second, stole the Academy's hearts. They remembered what people really love in a film: to hear a story and to see real people's faces. I was underwhelmed by The Hurt Locker, but a Best Picture win might have inflated its stock.

Next month, this little gem could be 2012's The Hurt Locker to The Artist's Avatar (for Best Original Screenplay). If so, you heard it here first.