To speak of "bare-bones" cinema is too reductive. This is cinema sans bones, a cinema of the flesh. Stripped of all the elements that should hold a film together, it nonetheless breathes, feels, and dances. It surges with a subtle vitality at the possibilities of life, even of a life lived in quiet transience. In a way this is one of Kiarostami's most experimental features yet, and consequently one of his most vital.
Maybe the peak of Kiarostami's recurring themes. Perception, Identity, patriarchy, and cars as a public place for private matters. It's feels almost claustrophobic at times.
Throughout the film the outside world is always trying to penetrate the frame and in the end it finally does. 5/5
:)) the kind of films that you either love or hate. no middle ground here. you just don't ask for a point/lesson/meaning in movies like this. just enjoy the ride. also, Tokyo seems like such a sad place for a night taxi ride - this and Lost in Translation
A film about identity as merely a social construct. The true nature of the main characters' relationship isn't allowed to bloom because, both as spectators and as members of society, we intrude on it with our own expectations and biases. Kiarostami once again proves how he can use restraint as a means to artistic flourish.