The best that cinema has had to offer since 2000 as picked by 177 film critics from around the world.…
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…
Film 17 - #17 in 'The Hard Drive Randomiser'
Certified Copy presents two sides of an argument elegantly, never neglecting the fact that there is a logic behind both points of view. James and Elle's first conversation is presented much like the argument: side by side, and mirrored to the audience. While their chat is initially a little flirtatious, suggesting a possible history between the two, the characters soon become native of their personalities: James the sophisticated yet surly, and Elle, fascinated yet unhappy. A simple assumption changes their dynamic entirely, setting the film on an unconventionally odd path, and by an inevitable reconciliation, there's still the question of their authenticity, with frustratingly few answers. But then, much like the art they scrutinise, perhaps that was the entire point.
Full review at Big Face, Small Razor.
i saw myself tonight,
caught my reflection in the mirror....
you should stop me there,
but i keep on talking....
You know, I fully support the concept of puzzle movies departing from their usual gritty '90s aesthetic and becoming more like episodes of Anthony Bourdain: Parts Unknown.
What begins as a walk-and-talk with two middle-aged strangers at its centre, then turns into something much, much more intriguing. The reason for the intrigue is not the plot itself, but rather (my conception of) the point that the film raises.
Should we go along in the ride with characters exploring their (possibly faux?) lives in movies, or should we try to assign a truth value to their story within the world of the film - considering that the world of the film itself is not an 'original' but just a 'copy' in the first place? Is there any point in doing the former, and does art lose it's intrinsic value if we do the latter? Does art have any…
At first what feels like a middle aged Before Sunrise turns into something I didn't expect. I'm left with questions I don't know the answer to and a feeling that I just watched something special. I have to think about this some more.
Certified Copy is one of the most complicated, but brilliant films I've had the pleasure of watching.
It's one of those films where I struggle to put into exact words what this film is about. But, in my head I know exactly how this film works, but I can't put it into plain language.
From what I've gathered from the interview. on the Criterion Blu-Ray with Kiarostami. The film seems to be about perception in human relationships.
More specifically, it's how people in a loving relationship at first tend to be blinded by that love and believe the person is the greatest thing since sliced bread.
It's only as the relationship goes on for years that this effect starts to wear off and the person in that relationship wonders "what happened to the original person, I thought I loved?"
Well, the answer as Kiarostami romantically puts to us is basically "They were always there, even if your perception changed."
I can see why every pretentious film student with a tumblr account of 100 followers loves this one.
Definição de obra-prima
2.5/5.0 = Noteworthy
I know I should probably have my Letterboxd profile revoked for not loving CERTIFIED COPY, and it is with a heavy heart that I have to make this announcement. Abbas Kiarostami's 2010 picture is fantastically acted, often beautiful, but ultimately just doesn't work for me. I could go on about its meta-narrative and mirroring of performance within a performance, but frankly its all lost on me for one simple reason: it prioritizes philosophical pandering over something more honest.
As much as I hate the term, CERTIFIED COPY feels self-indulgent, even pretentious, a film so aggressively patrician that it feels like the intellectual counterpart to Richard Linklater's BEFORE trilogy. It's often impenetrable due to its inherent sophistication. That…
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