Nader and Simin—A Separation is the first Iranian movie which won many international awards as well as admiration from critics and the public. Many reviews by critics, however, have revolved around problems in spousal relationships of couples in different social classes of Iran. Through highlighting the self-evident dismantling elements and unreliable readings in the acting, directing, and even the scenario of Nader and Simin—A Separation, this article argues that besides the couples’ disagreement, the central concern of the story is the multi-interpretations of dialogues by the characters throughout the story. These multi-interpretations have their roots in the reversal of social codes which itself can be the result of the transition of a traditional Iranian society to a modern one. Applying a deconstructive approach for the analysis of Nader and Simin—A Separation is not an imposed critical practice; indeed, it is suggested by the movie itself, owing to the presence of a host of binary oppositions, misspoken, and slipperiness of meaning. By drawing on these elements, various components of the movie are examined through a deconstructive approach including the title, class privileges, audience response, suspending techniques, and unreliable language to reveal the disguised values in a transitory period.