Stoker takes off into a far from traditional direction that few will see coming, regardless of its predictable points. Not all that much to brag about, Wentworth Miller’s screenplay is simply a mystery that sets everything up just right and provides a loose structure and jumping off point for Park Chan-Wook to go wild with atmosphere, just as he has in his former films, especially that of Thirst. At its core, Stoker is actually a psychosexual coming of age tale that shakes the ground it walks on.
For all its flaws, Dans la Maison is still an engaging narrative throughout. It almost makes one wonder though – without the same flaws, would the story be as interesting as the tale one makes up about the couple they see fighting on the train? François Ozon is simply reminding the world that maybe voyeurism into the lives of others is exactly what gives birth to the most fascinating of stories.
Taking his time to set up his film as per usual, Abbas Kiarostami spends the first portion of “Like Someone in Love” introducing Akiko, played by Rin Takanashi, a young woman in Japan who works as a call girl.
The same limited camera techniques for back and forth conversations that once bothered me in “Taste of Cherry” are brought back here, and yet they're endlessly more engaging this time around. In the opening scene alone, the atmosphere of the club…
Even though Kiarostami takes the audience on a mostly unengaging journey throughout Taste of Cherry, I find that the final fifteen minutes or so before it fades to black – and none of the very unnecessary and aggravating footage that comes after that – are some of its shining moments, with Ershadi showing more than just the same distant look on his face. It’s a shame that the rest of the film was so lacking.