Die Liebesfälscher

The mystery of this relationship will likely resonate the most with people. How do these two people know each other, is she the mistress, wife? I think it counts that Kiarostami has designed it to be impenetrable by logic, blurred the cause and effect, which is a way of dispelling the notion that we can know the world by it. Is he going to put his hand on her shoulder, will he take the 9 o'clock train out of there, I'd rather ask these questions myself. Both pertain here eventually, as abstractions of life. A man and a woman, whose relationship real or imaginary we might know from our own efforts.

They stop in a museum before the picture of a portrait, thought for centuries to be the original, though lately discovered to have been only a perfect copy. What value has changed in this object, what new perception now regards it, this is where I believe this is best unraveled.

Things change the man quips philosophically, an intellectual much like Kiarostami perhaps. Yet we see the same cypresses standing by the same old road, the same plazas and hotels they once visited, then young and booming with love. Having spoken so well, we see however that the man understands little of that. He can't even enjoy a simple glass of wine without complaining that it is corked, what should be a simple pleasure is tainted by the gross irritation that comes from too much satisfaction. Having satisfied our desires so many times, in so many different ways, we can see that we are no closer to happiness.

Where does this weariness then, born from too much familiarity, from having seen or tasted too much, come from and why does it invest our gaze with this constant dissatisfaction? Another line of thought to connect the web of allusions. The woman, who has made herself beautiful for him in the day of their anniversary, says he doesn't see her anymore. He looks at her but doesn't see, meaning something has dissipated with time, grown withered in his eyes, though she is still the same, except a little older.

Kiarostami perfectly visualizes the burden that saddles these people in the scene where they are driving around town in the car. On the windshield we see cast over their faces the reflections of buildings gliding by, not simply the gap that exists between them, indeed between any two human beings, but the burden of time, life passing them over. In a poignant metaphor, we see them move through existence.

A perfect copy, the original, two identical objects which we are taught to perceive differently. The lines being the same in the same places, the hues of color painted exactly the same, the one intrinsic value that separates the two is merely time. Which is to say that as humans, who wither away with time, we allow ourselves to regard it as the most precious good, the one we cannot buy or sell. The movie shows us how, although we may understand our transience as an idea, we live as though we will always be here, as though we have time enough to postpone a small gesture of affection.

But if we simply perceive the world around us, this present moment? This draught of air now coming from an open window or this glass of wine? Or indeed this woman who has made herself beautiful for us?

This is a great film by one of the few gifted filmmakers of our times, perhaps his first truly great one. In the right ears, this will be a sutra that will permit us to meditate on fundamental precepts of existence, how time thought to matter matters little, how craving and ego blind us. How ultimately, like a mandala upon which Tibetan monks work tirelessly day and night only to destroy it upon completion, life is to be lived in full, with knowledge that it will come to pass.

If you're familiar with the movies of Iranian director Abbas Kiarostami, this is a big departure from his usual work. Shot in Italy with Juliette Binoche and some dude, it's basically a romantic comedy, but nothing like Hollywood would ever produce (well, it actually reminds a little bit of Before Sunset by Richard Linklater, but miles away from the Julia Roberts/Sandra Bullock avenue).

It's really enjoyable with unexpected progress of the story (unexpected especially if you're brainwashed by certain type of movies about male-female relationships). It has room for interpretation, everything is not explained and it lets the viewer bind the remaining threads. It's also funny and I found it quite intense. It held my attention and actually felt about ten minutes shorter than it really is. I have to admit that I'm a big fan of intelligent movies about male-female relationships. Long well written and acted scenes with just a man and a woman talking don't turn me off.

The formal control of the shots by the director and the cinematographer are masterful. There are those long shots that Kiarostami has used before, but used masterfully in the context of the story, and not in any "look at me, Mom, I'm sculpting in time" -art house tedium.

I talked with couple other persons who saw the movie, and they said that they didn't like it. But let me tell you that it's really good.

All reviewers so far have either opted for 8 or 2. That is a sure sign that something is going on, I am willing to risk flack from all sides and say that Cerified Copy is was it is: a look at how we layer our relationships, an hour and forty minutes of conversations, broken with moments of silence and walking, and about two people who may or may not be in a some sort of relationship or connection.

It has originality - it will not be like other films seen recently in mainstream European cinema, there is little or no plot, or action, rather we dealing with conversation, and the state of the heart and the mind in a fiercely non-Hollywood fashion. This is a film about thinking about emotions, and is almost non-linear in its conversations and if that concept doesn't appeal then it may well not be viewable.

It is, however, despite itself, pretty mesmerizing - what will they say next? what other aspect of why relationships fail and succeed will be tossed into the salad? who are they? why the games? etc;

The conversations are both alienating and intimate, and have a "play-acting" aspect that allows the psychosexual aspect of how we adults explore potentiality to be examined in a way that is normally reduced to sexual tension and flirting on film. This is a film that demands attention - this is not dumb film-making. I recognize the conversations and the feeling well, but in a sense the connection is too contrived to be really successful - but it certainly touches that part of intimacy that is normally, at best, ethereal.

The setting of Chianti and a beautiful hot summer day, with cicadas and a wonderful small town to explore, lightens this - but it remains a film for philosopher romantics. It is, as others here have noted in better ways than me, film as film - here there are images and shots that work to compliment the alienation and solipsistic nature of the two leads.

A film about questions that offers few answers, it is certainly intriguing and if you are into human exploration and condition worth the effort to watch.

If you have seen Under The Olive Tree, Kiarostami's master piece from 1994, you might find Certified Copy to be the continuation 25 years later on a different continent. Here he left Iran for Western Europe because Binoche could not have done this in Iran. A twisted, touching, thoughtful relationship story that plays with what is a copy and what is an original, what is reality and what is imagination. Beautifully filmed and Binoche is at her best. The many languages spoken between the protagonists - none from Iran - just confirmed for me the many levels of a relationship, the confusion and misunderstandings you are confronted with, no matter where you are. Definitely worth seeing and talking about with intelligent friends.

Euro intellectual recession-time story? I recommend Copie Conforme because of and in spite of the difficulty in watching it. The difficulty resides in the multiple layers involved in the relationship of the two protagonists, not to speak of the three languages that they both speak in various circumstances. The more the the action evolves, the less we seem to understand the real nature of their relationship. What we do know is that those two have a problem of communication. It is this struggle of seduction/rejection, with setbacks and all that make it worth watching. Atmosphere and the man-woman tension is what keeps it going. The filming is impeccable, with lovely scenes of Tuscany, excellent camera, and the great work on surrounding noises, which I believe replaces any music at all. The acting is also very fine, with Binoche deservedly getting a major Cannes Film Festival award.