Like Someone in Love

Kiarostami seems to be making a joke out of his own genre, while he creates a short story that could have been penned by the author of Rashomon. The car-driving-in-circles and car-talk scenes, the wise elder giving advice to troubled youth. But the joke is on our expectations of how it will all turn out. Extreme command of pace, plot and setting, as always, and lots of nice incidentals like the parades of schoolkids that flow past the lives of the film's protagonists.

One of those film where the experience is a bit fleeting, but in the moment is absolutely wonderful. Reminds me of Wong Kar-Wai. A beautifully shot film with alienated leads whose relationship is vague yet feels organic.Less wordy than other Kiarostami films, it relies as much on what is left unsaid than what is said. The ending felt a bit off to me, too concrete for a film so fleeting but too abrupt and incomplete to be satisfying. Otherwise it was great.

While well-acted and well-shot, the flat characters and bizarrely truncated plot render this film pointless.

Kiarostami goes to Japan and... KAPOW! with this Pretty Woman(but then not at all)-like story, he makes one of the most satisfying Japanese films (as well as from his own hand) in recent memory. It's human complexities is deeply moving, the story playing with our expectations, and with Kiarostami's excellent use of confined and divided space, suggesting the emotional state of the characters or the scene.

A film in which the characters talk, talk, talk, while almost never managing to be honest or say what they really want - not because they're a bunch of liars, but because really opening yourself up to, and truly connecting with, another human being is hard. There's a reason so much of the film is fleeting glimpses of others through windows and windshields, which makes the ending, if perhaps a bit on-the-nose, a masterstroke.

Scenes when girl-prostitute, grandpa-client and girl's fiancé were driving in the same car were simply great. Character exposition done right. There is no point to the film, but nevertheless it's an enjoyable little piece.

An excellent dialogue-heavy drama. Some might call it slow but it's constantly moving, each scene with a compelling interaction between characters that grows until you're completely engrossed in their lives. It's complicated simplicity. The photography is also incredible -- simple and elegant, and the shots of Tokyo are just killer.

I knew about Kiarostami's adoration of Ozu, but this still came as a weird surprise to me. A movie set in Japan, in Japanese, and well beyond a tribute, Like Someone In Love almost seems like the plots of several of the inter-generational chamber dramas prevalent in old B&W Japanese cinema (by Ozu, Naruse, Mizoguchi, Kurosawa and others) have been meshed together to form it. It's technically well made and Rin Takanashi is hot, but I can't say I got much from this.

The scene in the taxi, the scene with the painting, the scene with the three of them in the car--Kiarostami has filled this film about image and representation with a series of stand out scenes that bring both insight and complexity to the issues at hand. The layers of meaning in the painting scene alone give an indication how deep the film's central questions really go, questions that strike at the very heart of film as a medium: what is the nature of an image and how does it represent reality?

Let down somewhat by a weak third act which felt like Kiarostami going against his nature by injecting needless conflict for dramatic effect. Other than that it's a perfectly paced and beautiful character study.

This is quite something. Endlessly complex social interaction [with patriarchal Japan as its background] portrayed in the subtlest gestures. Much more than Kiarostami the psychologist, I very much appreciate him as a sociologist. As much as I quickly warmed to the film, I'm afraid I can't disagree with some of the other reviewers here w/r/t the rather -truncated- finish. Actually, one of the most weird-ass endings I've ever seen.

Excellent as usual, this is Kiarostami in his outwardly more straightforward mode of film-making. Even while merely telling a story, however, he manages to be extraordinarily subtle and deep if we can see it.

A droll movie about human artifice that relies on dramatic irony and oblique plotting to get where it wants to go. It crashes abruptly to an end, like a bad dream, and almost every character is exposed as some kind of shape-shifter. Heavy reliance on framing, long conversation, and generational conflict evokes Ozu.

A decent enough comment on modern communication, I guess, but not nearly as subtle and round as the Japanese filmmakers that must have been the model for this. Oh and dude, you were in a free country this time, there's no more excuse for filming half your movie in a car.

I'm not quite sold on this elegantly shot but fitfully engaging and ultimately frustrating study in mistaken identities. Kiarostami is obviously trying to be enigmatic but he ends up with an opaque character piece that is neither emotionally nor intellectually satisfying. It's like grasping at air.

A film as mundanely bland as its digital cinematography. There's hints towards showing great relationships emerging from this film, but it feels like it doesn't have the time to fully explore them. The ending is pretty baffling, too.

There seems to be a lot to unpack in this simple, seemingly uncomplicated film, and I like that it works as something to chew on and as something merely to experience. I can see a lot of people not liking its possibly unsatisfying story arc, but I think a lot of people might find its minimalism refreshing. I'd encourage viewers looking for something less bombastic than explosions and bar-brawls to give it a shot.

This is an expertly crafted film. Kiarostami continues to make movies that are at once deviously simple on the surface yet require their viewers to make an effort unspooling the intricately woven genre and structural beatdowns that he just loves to administer.

Kiarostami here is working through the same themes of identity as in Certified Copy except it's not as fun and much darker, though paradoxically, it's also funnier, with the humor arising from awkward moments. The woman and the professor adopt identities as fluidly as the couple from Copy, but adding the wrinkle of the fiancee, who can only be his own terrible self, results in the collapse of this duplicitous ecosystem. The creeping anxiety throughout pays off in the final moment.

One of the sweetest things I've ever watched. I don't care if it is supposed to be a slow-paced film by many people (as far as I've read), it is a beautifully directed masterpiece.

Like Certified Copy, L.S.I.L _appears_ like the work of a different film maker, but the familiar themes and preoccupations slowly emerge; namely, the relationship between reality and representation, surface and depth, explored with such effortless elegance that it almost feels like a con. But that's really the man's brilliance at work: behind the oblique plotting and casual pace lies astute observations about desire and social roles whose facade is shattered by a violent act. A grower.

Loved the first act, that first scene in the professor's apartment is so lovely and fascinating. But at a certain point the movie seems to forget what its strengths are and I started to lose interest

eskort bir kiz, onun serseri sevgilisi ve bilgili,kulturlu, yasli musterisi ucgeninde iletisimsiz iliski anlatimi. hayattan bir kesit sunumu sadece. o da cok kisa ve anlatimi cok agir ilerliyor izlenimi zor o yuzden.

Ne kadar olgun bir film.

If Certified Copy felt like Kiarostami commenting on Antonioni, Like Someone In Love feels like a riff on Ozu.

A poem committed to screen. Incredibly playful, tense beyond belief.

While not this director’s best film, it is still more interesting, subtle and complex than almost anything else. Some scenes were great, and, as usual with Kiarostami, his perspective on human problems is far less predictable than most. Due for another watch.

Kiarostami's weakest work. Seems like a wanna-be European director's brash attempt.

Star Rating: ★★★★

76.500

Sneakpreview Bremen

Kiarostami is an Iranian director filming a french movie in Japan. The frontiers in here are extensive on the backstage, but time and space are concepts that he manipulates as he please. This is a 2 hour movie that happens during the course of almost 24 hours, in real time.

It's hard not to like a movie where the scenes last longer than 5 seconds and the audience is presumed to be capable of inferring what happens off-camera. My expectations about the plot and climax were violated, but after watching I felt unworthy to have them in the first place.

The communicative crisis of a culture in a series of disjunctions and aporias expressed through a set of characters which embody all those elements in odious ineptitude. Kiarostami has directed an eminently obnoxious film it's difficult to disagree with.

filmekimi 2012 & Like Someone in Love, sevgi hakkinda yalin, tertemiz cekilmis, mukemmel kurulmus karakterleriyle degerli bir Kiarostami filmi.

I'm not seeing quite the depth a lot of people are claiming to see, but it is very nicely made.

Slow and thoughtful - a touching portrayal of an unusual friendship.

My fourth Kiarostami, and it's 0 for 4. I'm pretty sure this guy just isn't for me. More blandly-shot conversations in cars, more archly formal use of off-screen space and sound without any apparent meaning beyond it being the director's "thing" i guess. The whole thing feels sort of pointless. It would maybe help if Kiarostami's minimalist cinematography was ever anything beyond merely functional, or the conversations weren't mostly mundane.

Well, this one is not an easy one to rate. I left the theater thinking either it was a great film or a terrible one. I actually read quite a few reviews and was ready for an unconventional ending but it still took me by surprise. The pace of the film is very slow throughout but does pick up by the end. The characters seem a bit caricaturistic but still intrigue the spectator. Like I said it's not easy to rate this one.

Naturalistic style is quite a contrast with Certified Copy, which sometimes felt a bit forced. The final act is incredibly jarring, particularly the use of sound.

I cannot for the life of me understand why Kiarostami thought making this movie was a good idea.

It's a thrill - perhaps because the audience is kept in the dark about the characters' motivations.