Certified Copy isn't the masterpiece that "Close-Up" was, but it lures the viewer into a comparably labyrinthine thicket of fakeouts, doubles, and assumed identities. If you like movies that induce a pleasurable state of vertigo, this is one of the great discoveries of the year.
Just gets better as it becomes more bewildering. Even if I can't put my finger on what the point was, this was a fascinating film and I can't stop thinking about it.
Beautiful and captivating. It is fascinating to see what Kiarostami does with his first European feature. There are some almost Rohmeresque elements, but movie still shows Kiarostami's singular style. Nobody can marry intellectual and emotional concerns in the way Kiarostami seems to achieve so effortlessly. Binoche is superb.
Certified Copy seems almost like a film of another era, from a time when you would go to the theater to see a dangerous piece of art. Not all of the film is engaging on an emotional level, though there is an intellectual continuity that acts as the film's skeleton and continues to spiral outward well after the final shot is over.
Follows two interesting threads, which I can't determine the relationship between, or if there's even supposed to be one. I hate leaving a movie feeling like I've somehow failed it.
Interesting shifts in tone and perspective, however, some turns left me feeling like I knew less and less about these characters than I thought I did. After accompanying them on a long journey, neither they nor the audience really seem to have arrived anywhere, but perhaps thats the whole point.
A whole marriage in one day. Binoche is superb, and the film is certainly intriguing but Shimell's husband is one of the least sympathetic characters I have ever seen.
Transporting. There is a structural whimsey which is beautiful, overlaid upon two central performances which are astoundingly good. Binoche steals the show in a career-topping performance, but Shimell is no cipher; his anger-within-intimacy most compelling.
Through long shots, Kiarostami depicts what could be some sort of middle-age and experimental Before Sunrise, with arresting genre shifts. It goes from a romantic comedy to a serious drama, what might exasperate most of western spectators.
I am aware that I am heavily, heavily biased in my judgment of this film. It has Juliette Binoche, Tuscany and relationship problems: what more could I ask?
Not unpleasant, but after listening to much podcast discussion and trying to read praise of the film I just can't find the profundity and the ride is well not really want I want. Am I missing something in the ending?
Intelligent and expertly done, as one might expect from the names involved, but unsuccessful. This is by far the most polemical film Kiarostami has ever made, and yet it isn't a proper filmic essay like, say, "F for Fake". It's a drama. The characters do have psychologies, they're not bidimensional, so authenticity is expected. Unfortunately, from the onset, all interaction between them is so transparently aimed to demonstrate a philosophical point, that its credibility as a drama is lost.
The long takes, the Italian setting, the scenes filled with art and talk about art, the interplay between a cold intellectual and a warm, sensuous woman, all of it seems a very direct quotation from Antonioni.
I loved the simple yet effective and innovative camera and sound use. I didnt quite like binoches acting at first, only to become more and more impressed by it. other than that, the story eluded my understanding throughout the viewing of the movie. not until after did I understand the "point" of the movie. this left me feeling rather stupid and underwhelmed at the same time.
The dialogue and acting is sincere, but the central concept didn't intrigue me nor "threw me off" as it seems to for other people. I considered it simply as a stylistic choice, not as a narrative twist... perhaps your mileage may vary, but I took little message or entertainment from Certified Copy. Score is not a grade.
The first 30 minutes were great. Nice characters, good chemistry, interesting philosophical discussions. The twist really threw me off balance, and I suspect it was Kiarostami's intention (other subtle audiovisual techniques are used to disorient). The second half is much weaker. You really have to imagine it as 2 separate films to make any sense out of it, which is in complete conflict with the visuals. Kiarostami's best-looking film, but I'd rather he dispensed with the experimental bullshit.
More a radio drama than a movie, based on an interesting but rather thin concept and stuffed with trite and/or pseudo-intellectualistic dialogues. The result is not entirely bad, but at points feels like a Tuscany tourism promo and some mistakes are irritating (see for example the long shot of the car driving smoothly through a narrow street which appears to be crowded with people and market stalls).
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