The entire Criterion collection organized by spine number.
I don't know why I did this.
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…
A relationship is something difficult to explore in films, given that it is already difficult enough to experience it. With a Linklater formula, but still with brief personal stamps regarding his love for the rural landscapes that gave him his origin, Kiarostami places two souls which drastically contrast personalities create conflict.
Copie Conforme has an innovatory approach. We spend an entire day gathering clues about the characters' backgrounds, yet we are kept emotionally distant from them because Kiarostami's statement about the originality of art is transmitted through and reflected in human relationships. He is concerned with contemplating the present state of things while reflecting on a past which is kept intentionally unclear. In that way, we adopt James Miller's perspective,…
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…
What at first feels like a middle-aged, bourgeois spin on 'Before Sunrise' develops into something much more demanding and impressive. 'Certified Copy' is a sedate, slow-paced film but it builds to tremendous emotional potency.
Kiarostami's compositional sense is breathtaking, making the simplistic shots he presents incredibly visually rich. Helped by the stunning scenery of Tuscany and Lucignano, he creates a film that lingers both on the screen and in the memory, each frame drawn out to its full potential. From the early car journey to Lucignano to the perfectly framed closing shot, 'Certified Copy' relies on nothing but simple composition to create subtle beauty.
Juliette Binoche was awarded the Best Actress award at Cannes for her performance in this film,…
I felt the need to rewatch Certified Copy after watching Orson Welles' F for Fake. The two films both deal with the trickery and deceit inherent in art. Where "F for Fake" is very showy, Certified Copy is understated and contemplative. The latter is about James Miller, a writer whose latest book is about the value of a copy versus the original art. At a promotional event for the book in Italy, he meets a French woman and they take a drive together through the countryside. They have heated debates about art and relationships, revealing more about their past as the journey goes on. If you go in thinking it's just the typical…
The kind of open-ended film designed specifically to reveal to you your own inner feelings, this is a beautifully composed and sublimely acted work from a real genius of cinema. Binoche is unadulterated brilliance, as ever, and Shimell is frankly amazing for a first-time actor. All the complexity of its structure and potential meanings aside, it's an involving look at how people interact in the world of today, effortlessly intriguing and all but impossible to resist.
This review reportedly contains spoilers. I can handle the truth.
A movie I have the utmost respect for, although it begs you to ask, meekly, what each frame / line of dialogue means within its grand scheme of societal, historical, cultural, and artistic exercises. On the one hand I feel like the film raises ideas in a loose association, where nothing is definitive and, yet, it feels so overdetermined, as though a single averment could be swatted down. A movie that makes me feel inferior, which is to say it didn't connect with me.
Wasn’t expecting to get too into this but I found it really involving. Like a third, unhappy, Before Sunrise/Sunset movie, but with a weird existential twist that never really gets resolved. Juliette Binoche is so good in this. I usually find her kind of cold, as a screen presence, which works amazingly in stuff like Three Colours: Blue, but she’s so warm and vulnerable here. The sound design and cinematography are so natural and enchanting too; no music, no tricks, just Tuscany in the summer and the sound of birds and bells ringing. Really liked this a lot.
A delightful riddle of a film, with the specifics and circumstances of the central relationship more complex and deeper then any murder mystery.
Recalling Richard Linklater's Before Trilogy in the statics shots of walking through gorgeous European environments, but also in the ability to achieve remarkable emotional depth in sprawling and beautiful conversation.
Criterion's blurb probably states it best; [Certified Copy is] a mind-bending reflection on authenticity in art, as well as in relationships.
Beginning with an actual lecture and ending with a lectorial smudge of expressionism, Kiarostami seems convinced only one tone can be the universally right one for his story. Despite the interesting splintering of other elements in the script (metaphysics vs. practice, publicity vs. interaction, adults vs. children, clarity vs. marriage), he still maintains the same condescending, aloof, alien lecture in the main themes through all of it: what's real? what's fake? what's authentic? and does any of it really matter?
An author named James Miller, on a book tour in Tuscany, poses these questions first to an audience and then to a mysterious admirer (Juliette Binoche, playing an unnamed character) who whisks him off to the countryside if he'll sign…
This is a really interesting movie but one that most of the mainstream would find hard to accept because it takes its time and doesn't really have a plot and Kiarostami has a directing style that for most people would find difficult to watch because he is extremely patient and subtle in the choices he makes. The movie wouldn't work without the characters and the actors playing them. The movie asks questions about authenticity, originality and what art means and then doesn't answer those questions but lets the viewer answer them for themselves. And when it's over you realize that you've spent two hours immersed in a world where you didn't really know truth from fiction and the movie itself leaves you with a few questions that only each viewer can decide for themselves what the answer is.
Abbas Kiarostami's first European film is a success. It's unbelievably simplistic, but at the same time, very deep. The cast is exceptional, and manage to help the film to avoid feeling a little pretentious.
I reviewed the UK Blu-ray audio, visual and extras, here:
Wonderful to see Kiarostami out of Iran, as he makes Tuscany looks so wonderful, exotic and appealing. It's like a more mature, and somehow more European version of the 'Before' trilogy, and I'm certain that I need to watch this one again sometime soon to really understand it, as some of it was a little lost on me. I just love his style of filmmaking and I look forward to seeing Like Someone In Love because this has given me a taste of Kiarostami out of Iran and I loved what I saw, especially in the beauty of the image.
It was abnormally bothering me in a good and bad way.
It's because it gives you a versatile point of view about the movie in a matter of seconds. The movie gives you an illusion on whether you believe it or not. Whether you were paying attention or not. Brilliant mind-fucking movie emotionally because there are tricks that could do your mind good towards this movie. It's just like Before Sunrise, only it's filled with conversation of art, beliefs, lifestyle and everything that makes you skeptic in some ways.
For me I guess this is Juliette Binoche's best work. Abbas Kiarostami did a marvelous job of creating this human beings' perfectly natural occurrence & state of mind in such a reasonably, beautifully hurtful picture.
The entire Criterion collection organized by spine number.
I don't know why I did this.
# Title [#Voters/#Votes] =Total
1. 2001: A Space Odyssey [60/124] =184
2. Pulp Fiction [57/124] =181
3. Taxi Driver [35/69]…
UPDATED: February 6, 2014
The Criterion Collection is a video distribution company that sells "important classic and contemporary films" in…