This is what happens when your car breaks down on a Sunday morning and you have nothing else to do…
In Tuscany to promote his latest book, a middle-aged English writer meets a French woman who leads him to the village of Lucignano.
Second viewing confirms this is among the handful of films I'd consider my all-time favorites. Everything I want in a film is here. (Well, I could use a chase scene with a car explosion, I guess.)
What's the movie about? It's about an hour and forty-five minutes.
An hour and forty-five minutes of dizzying, glorious, beautiful starts and stops, ideas and emotions, reality and fiction, truth and lies, beauty and deceit. AK demands our attention, but doesn't mind if we don't watch too closely. (We are She, stumbling in late to a lecture, half-listening, life calling us away, yet not forgetting what was said.)
Officially, my big interpretive stance is that the film defies any single, uniting reading that makes…
This film stunned me... I had no idea how emotionally powerful it would be; it is also either an enigma or a puzzle - in my opinion, most likely the latter. I'm not here to convince you about the "truth" behind this film, because there is no true-truth behind it. I'm not sure that's what Kiarostami intended. Either way, it's one of the most beautiful commentaries on the power of filmmaking and art and imitations of life that I've ever seen.
I was crying throughout the last ten or fifteen minutes over what is, in my opinion, something fake within something fake (their relationship). Often we do shed tears over the "fake": that's just something that we do as movie…
Abbas Kiarostami's filmography is unique - his enigmatic cinema is so powerful and mysterious (offering originality and unpredictability) that you'll never leave his films with a solid notion of what you just watched and the films in question will probably linger long in your memory as watching the complex films from the Iranian master is always a very unique experience. Yet not every viewer will find his films complex or even interesting because it's not the director who is trying to create “complex films” - no, it's the most attentive viewer who will try to find an underlying complexity in Kiarostami's films and try to find subtexts in the smallest details. In fact, I actually thought Certified Copy would be…
If cinema is considered a reflection, then Certified Copy is a heightened version of that opaque vision of ourselves and how we perceive others. Abbas Kiarostami takes conventions of Art-House cinema and shoves those norms right in front of a full-body mirror, forcing genre and normality to confront their own limitations and customs.
However, Certified Copy isn't only a reshuffle; it is also a radical stare into its own mechanisms and inner workings. With an opening shot revealing a book entitled "Certified Copy" resting upright on a desk, Kiarostami immediately visualizes that his heart and his soul lie in the complete deconstruction of originals and copies, and not just the overhaul of previous Art-House structures.
Certified Copy is in…
If there was an argument or discussion to be had with Kiarostami here then it quickly falls into a one-sided conversation, one clear winner triumphing over its opponent. The idea that a replicant sustains as much value as the subject it imitates has already been proven across an immeasurable amount of time, from the instinctive moment our imagination interacted with those around us. But can we watch that obvious transformation take place before our eyes, challenging a perception that asks us to transport ourselves into the unknown?
The opening scene of Certified Copy suggests of level of academia not always present throughout the film. As James offers a short insight into the construction of his recently released novel we cut…
Now, I know I shouldn't let this out, as I will slide like an avalanche down the waiting list for acceptance into The High Order of Over-Achieving Cinephiles, or "hoax" as they like to refer to themselves as, but here goes nothing: Certified Copy was my introductory film into the talented cinematic world of Abbas Kiarostami.
It definitely didn't disappoint.
Kiarostami lays out a story about the worth, authenticity and beauty of a copy, or fake if you will. Wether that copy be a statue, a painting, a person or maybe a relationship.
Kiarostami's approach to the story is an ingenious one, and you certainly have to keep both eyes peeled open, and your ears perched, as it gets intricate…
Binoche is truly mesmerising. Although Shimell put's in a great performance, he doesn't stand a chance we she is on the screen. When she speaks I was transfixed watching her deliver her lines and when he spoke i was transfixed watching her reaction.
wow i needed this
A bit surprised that of all Kiarostami's films, this should be the most beloved by Western critics/audiences, since a great deal of its charm comes from the massive fuck you it levels at everyone who wanted Kiarostami to film a commercial narrative with conventional characters and a plot. I don't mean to attribute any bitterness to the counterfeit melodrama at the center of Certified Copy— more impish jest, not unlike the knowing glint in Binoche's eyes during her visit to costuming at the trattoria.
Forget for a moment its obvious play with mirrors, reflections, doubling and other visual signs pointing up artificiality in the mise en scene, and listen to the birds: their chirps repeat, often in the same arrangement,…
This movie is WTF in the best way possible.
Never had I seen a film which simultaneously caused me to doubt and believe in it with the same passion. It's a film about films (thus making the Carrière cameo essential), but also about any work of art, and ultimately about the process of perception of the human mind.
......yes.....yes it does
Disappointed. Supposedly provocative romantic drama, but the only provocative thing I noticed was her allegedly removing her bra in a church! Romance was entirely lacking and in all, I could not see a point in it, and barely cold stay awake. And after all this time I had been wanting to see this.... Blah.
Dinner table scene copies the acting from a Bridget Jones movie or something and Kiarostami likes to hammer on the symbolism-button a little too hard/frequently (take a shot for every reflection shot, juxtaposition between couples, separation by glass, or really any type of "trickery" or basis of illusion to emphasize the main idea). But otherwise, a pretty solid film about perspectives (to put it simply...and to omit its finer nuances but w/e).
I also have to admire its all too heavy/academic verbosity and essayist intentions (lack of emotional connection and another *yawn* film commenting on filmmaking) that does not get on my nerves.
Como un ejercicio intelectual va progresando poco a poco en lo emocional, con la misma pregunta sobre la autenticidad.
Se agradece que todo lo que se nos cuenta/muestra funciona en 3 niveles o más.
Movies that are slightly off.