Copie conforme presents an idea that is ultimately more satisfying in the manner it sends the viewer into an unraveling, gentle mindfuck concerning how the genuine/copy theme pertains to human beings in relationships than in the way the accompanying conflict resolves. Another in a long line of frustrating, rewarding, beguiling near-masterpieces from Kiarostami.

Certified Cure for Insomnia. My favorite part is when Juliette Binoche and some old Italian waitress spend six minutes making incredibly trite observations about marriage (Did you know that husbands are stubborn? Well, you do now!) that, accompanied by a laugh track, wouldn't be out of place in Everybody Loves Raymond. But since it's in subtitles with European actors, it's high art. William Shimell's character is a royal douche, one of the most loathsome movie characters of the year.

j-j-j jamesssss!

Intriguing but ultimately frustrating puzzle-box of a film; hypnotic and compelling in many ways, thanks to skillful direction by Kiarostami, and exceptional performances from Binoche and especially Shimell. While it is fun to hypothesise on the meaning of it all, a lack of clues as to the 'real' intent/meaning means that it slips out of your hand as you attempt to analyse it. No doubt it will benefit from another viewing some time down the road.

Kiarostami has been investigating the line between the real and the recreated for most of his career, so this film about a couple of strangers playing at being spouses, or a couple of spouses playing at being strangers (and what would it matter either way?) is brilliantly up his ally, but only for a few moments where it feels like it might turn into another bickering couple drama, but recovers quickly, and Binoche gives possibly the best performance of her career.

I didn't warm to either of the two main characters, although the acting was excellent. Wasn't keen in the all the close up face shots or the intellectual discussions.

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.

"Copie conforme" is interesting, weird and thought-provoking -like an intellectualized version of "Before Sunrise". Although the dialogue isn't as engaging here and the leads not as appealing, this remains constantly intriguing, maybe because Binoche and Shimell work miracles with average material or maybe because the games Kiarostami plays with us are as manipulative as they are effective. The film may be pretentious and it doesn't pay off, but it remains compelling and original throughout.

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 concepts of narrative and art get challenged by the two main characters, first verbally, then in a fashion that defies concrete reason. Reality slowly becomes a vague blur of a notion here, contributing a lasting hypnotic effect on the viewer. What's the point of this? I definitely have no idea, but I sure as hell like thinking about it. In a way it's almost like a symbiosis of academic theory with the craft itself. It's hard to explain, but I have no reservation in calling it very smart.

A very smart drama about a couple who just met... or who had been married 15 years... or does it really matter?

A great companion piece to F for Fake, proposing that a copy can be just as valuable as an original. And for that matter, what constitutes an original? I highly recommend reading Ebert's review of this one - it apparently confused the heck out of him.

juliette is so flawless in every way.

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.

Very much reminiscient of Before Sunrise/Sunset, and certainly a movie that demands a second or third viewing. Is a copy just as valuable as an original? Life mirrors art in this fascinating study of love. Binoche is more beautiful than ever and really owns this role.

In structure very close to Linklater's Before Sunset and Before Sunrise. I really liked the setup and camera movements. A great performance by lovely Binoche who trully is a great acress - she can cry, smile, yell in less than 3 seconds.

A meditation on how perception informs value. Kiarostami seamlessly traverses us from questioning the importance of authenticity in art and then applying the same arguments to emotions. In the end it isn't important whether or not the artifact is genuine, it only matters how we perceive it. In terms of relationships, our love for a person may be genuine, but their perception of our emotion is paramount.

A long look at the pain that two people in love can inflict on each other. The sharp, quick-paced dialogue of this script creates the illusion of two mirrors in endless reflection, while the characters are surrounded by a beauty which passes them by.

"Considers what's real between two people, and if it should bother us when reality becomes replaced with a copy."

this was probably the wrong time in my life to watch a date movie about middle-aged intellectuals