the voice mail from her grandma make me feel guilty. and when she rounded the station to see her grandmother from a distance, make me little bit cry. scene taxi driver i really love it, because the driver so natural and make me believe that they were on the highway, especially his eyes so great.
4.5 would almost consider this a companion piece to Certified Copy; this film encapsulates loneliness and the various inner machinations that prevent us from understanding one another. shots that rarely frame two people, long swaths of verbal silence, if the communication isn't in near direct opposition then it lacks connection.
Kiarostami is undeniably one of the cinema greats of our times. The first scene is enough to prove that. Just observe how he uses the space in it, how the actors move, what is shown when they speak and what is not. From the first minute onward I was nailed to my seat (sofa actually) and I remained captured right until the end. The story is simple but he weaves deep, touching and artistically ambitious cinema from it.
Brilliant film, slightly deserved by a too clean for its own good image. An real Japanese experience with a great Iranian flavour, particularly the dialogue in car scenes. And a proof that one can make an exceedingly slow film yet make pass times extremely fast. Very clever scene arrangement and top quality sound design.
Abbas Kiarostami was one of the world’s greatest living filmmakers until July 4th, 2016. He made films that challenged our perception of reality and relationships, and this is no exception to that theme. Shifting focuses and meanings between reality and artifice, and breaking ground as an innovative, yet patient and relaxed auteur. His loss will be sorely missed by the film world, and the world of art in general.
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
This is it. The Good Stuff. Quiet, except when it isn't, the long, luxurious, dialog-heavy scenes show a director with great faith in the script and performers. My focus occasionally waned, but, the feeling in this film is a delight. Also— a superb ending! There's just a lot of real stuff here and it's all The Good Stuff.
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.