Not saying that they couldn't be a couple (bcuz of devilish society or whatever), but that disliking the same things and persons is a poor basis for attraction bcuz tastes aren't truth-bearing statements and it is difficult to find strict opposites to animus-triggering issues. If green isn't my color, do I like ochre or vermilion? I don't overanalyze, I've been there: we allied against common foes, but our Apollonian
To quote Ebert, "Kiarostami is rather brilliant in the way he creates offscreen spaces." The abrupt, violent ending first leaves one unsettled, perhaps even dissatisfied. Yet it's those offscreen spaces that begin to haunt. The cocoons of comfortable falsehoods we fabricate for ourselves are both a necessity and a curse. It's telling that the two moments of raw truth in the film yield heartbreak and terror.
A seemingly empty film, that functions almost solely on suggestions. This abstract way of storytelling, combined with the abrupt beginning and ending, lends the viewer the impression of being an outside observer who is unable to properly judge the characters or their actions. But that is the beauty of this and many Kiarostami films. We have no choice but to respect them as human and allow them to keep their secrets.
Promises the trademark Kiarostami rumination and depth, or at least the cleverness and elan of "Certified Copy", but finally feels aimless, its main characters are charmless, and its non-sequitur ending falls very flat. The -rather superficial- nod towards Ozu only highlights the chasm between even Ozu's mediocre films and this film. I still don't get the joke about centipedes.
:)) 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
What stopped me from loving this movie was the fact that the old man wasn't nude at the last scene! I mean, COME ON! If the old man was completely nude at the end and clothed during the rest of the movie, this would be an ALL TIME CLASSIC! Thanks, Kiarostami. Thanks for dropping the ball (or BALLS (boom!) on that one!
Interesting cinematography, in reflections and to the side, of Tokyo. I like that there are no establishing shots, and often Kiarostami prevents the viewer from seeing the subject of the dialogue, making it feel less about the characters and more about the journey from point A to B.
It's not just a Japanese film made by an Iranian, but it also a masterfully crafted drama about perception and identity. Kiarostami's trademark on production details and social study stamped all over it.