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Avis des critiques
Like Someone in Love
Abbas Kiarostami Japon, 2012
That estimative, believing quality was Kiarostami’s… way. He could place two people in a room and create unlikely companionship by simply placing two people in a room. In a car. Ear to ear on the phone. He was the rare director whose storytelling created the impact of story-listening.
June 28, 2019
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Kiarostami generates, as perhaps no other filmmaker has before him, a moral relationship with what we are seeing. By a moral relationship I mean not one of moral judgment over what we are seeing but the opposite, the deeply moral encounter with the world that is experienced only by having one’s moral prejudices suspended.
May 19, 2014
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Made with startling economy, Kiarostami finds a million frames we live in. It’s as expertly designed a film as Rainer Werner Fassbinder’s The Bitter Tears of Petra von Kant (1972), which convinces one that the German master could shoot in one room forever and never run out of brilliant compositions, and here Kiarostami does the same, from inside vehicles, and in the reflections of windshields, somehow hinting at the myriad possibilities built into every moment of our lives.
May 19, 2014
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Not since Close-Up has the director foregrounded the role of deception in the changeling nature of his characters’ identities, and Like Someone In Lovelacks the mitigating factor of Hossain Sabzian’s benign fibbing… Whatever the circumstances of the director’s productions moving forward, however, Like Someone In Love is unmistakably a Kiarostami film, and he continues to craft some of the most challenging, invigorating work of his career as an artistic ex-pat.
May 16, 2014
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Where Certified Copy creates ambiguity primarily using the dramatic devices of character, plot, and dialog — the protean relationship, James’s art-historical background — what’s most satisfying about Like Someone in Love is that the effect is created within and using the medium of cinema itself: the nature of the spectacle and the experience of spectatorship. In other words, this film’s ambiguity is as much at the level of vision as it is of thematic experience.
July 08, 2013
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Shot in beautiful, if patently artificial digital, confining its characters (and camera) to isolated spaces and allowing each figure to take on at least one fictional role, Kiarostami’s film presents a world in which people shut themselves off to genuine interaction, opting instead for theatre, whether it be in the form of prostitution or simply the put-on public selves that they present to the world.
June 21, 2013
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The film definitely is about love – sexual, platonic, familial, dangerous, even deflected – and it’s of a piece with Kiarostami’s Iranian films in finding both pathos and wry amusement in its characters’ impulsive thoughts and actions. Like this review, the film is full of questions. The one thing that’s for sure is that this masterly filmmaker is sufficiently open-minded to work wherever he chooses without compromising the integrity of his questions.
June 21, 2013
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The ending is particularly surprising, and will leave some mystified, even frustrated by an openness that makes the mysterious final moments of ‘Certified Copy’ feel like proper closure. But the film is consistently engrossing, partly because in terms of its compositions, colours and sound design, it’s so elegant, and partly because one is constantly wondering not only what’s going to happen next but what it’s all about.
June 17, 2013
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Just as in [Ten, Taste of Cherry] and some of his previous films, the forward shots of singular persons within such a claustrophobic space combine uneasy feelings of voyeurism with replications of personal conversation, which create a perplexity that parallels the story… Though his work provides a wealth of material over which one could exhaust their brain, it’s better to watch with the heart.
May 10, 2013
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In Like Someone in Love, the violent conclusion can also be regarded as another unresolved Kiarostami ending, addressed to the audience — an image and metaphor that take us beyond the film’s story, and into a bleak view of modern life and our violent times, where Tokyo is not a place but a state of mind. It’s worth noting that film’s original title was The End — as in the end of old movies, or maybe even the end of life itself.
March 17, 2013
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A genuinely beguiling work of art. It furthers the director’s recent project of portraying relationships that are constantly in flux — a theme that reached its pinnacle in his 2010 masterpiece Certified Copy. But the mysteries of that earlier film were more overt – percolating out into the very atmosphere of the film, so that its setting became as mutable as its human interactions – while the new film has a greater precision to it, and a cleaner, even more suspenseful, narrative arc.
February 16, 2013
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…Kiarostami demonstrates an exquisite grasp of the specificities at play here, and he orchestrates these and other components to build to a climax/conclusion that’s both immediately upsetting and likely to haunt the viewer for days to come. The puzzle here is life itself, and the solution is, Kiarostami asserts, still a work in progress and may continue to be that long after we’re gone.
February 14, 2013
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Employing his signature tricks (endless long takes, retroactive point-of-view shots)… Kiarostami gauges not so much the parameters of cinematic manipulation and artifice (though that’s here, too) as those of everyday honesty and fraud. When can we lie, and when should we lie? Just as Akiko—at once the model for an enticing advert and the likeness of a masterpiece canvas—creates a multiplicity of identities, so does Like Someone suggest several divergent, uncertain answers.
February 13, 2013
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If “Like Someone in Love” frustrates, it also has ineffable grace in the framing of Kiarostami’s long, languid shots, the changes he captures in the light, and the way the actors’ smallest movements become fascinating. This enigmatic study of identities built on social deceit offers more than easy answers ever could.
February 13, 2013
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You emerge from Like Someone in Love elated and slightly dazed, not least because of Kiarostami’s decision to end the film with the most abrupt denouement since the final episode of The Sopranos. (One working title for the movie was none other than The End.) But the movie’s sense of immutable desire resonates well after the lights have come up…
February 13, 2013
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While this film is indeed less tightly structured and more open and ambling than Certified Copy, this openness can be deceptive. And this is by design. Whereas the previous film exhibited the tight, almost claustrophobic gamesmanship of Resnais or Buñuel, Kiarostami’s “Japan film” is organized as a (gentle) clash of incommensurate ways of life, temporal orientations, and yes, cinematic modes.
February 07, 2013
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I prefer to think of the movie as one made as much in exile as in Japan. Kiarostami’s Tokyo is an overcast, mysterious, and ultimately terrifying place… As always with Kiarostami, every detail seems important, every gesture of consequence; you do not write a “review” of one of his films, you recreate it to understand what it is exactly that you’ve seen.
February 01, 2013
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It’s probably no coincidence that these two loosely complementary films [Like Someone in Love and Certified Copy] conclude with camera compositions that look through windows—specifically, from interiors toward the outside world. Both stories end, that is, with visual openings; and both prompt the viewer to ponder the question: what will happen next? It’s as if Kiarostami’s films are philosophical preludes. When they come to an end, the real action can start.
January 01, 2013
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Kiarostami and Mizoguchi share a powerful interest in at least two things: drawing attention to the artifice of storytelling and art-making; and a rigorous but expressive carving out of physical space, through both shot composition and the use of mobile camera. Both these shared interests are evident in Like Someone in Love.
December 01, 2012
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The opening scene is fabulous, the subsequent rambling plot absorbing and intriguing, and the end, as so often happens with Kiarostami, puzzling and frustrating. Possibly the man can do no wrong.
October 11, 2012
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None of this, thankfully, is merely playfulness for its own sake. It’s part and parcel of a film concerned with, as per its title, exploring the possibilities of love in a world predicated on putting on appearances and suppressing innermost desires.
October 07, 2012
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Kiarostami smartly enlisted Takeshi Kitano’s DP, Katsumi Yanagijima, for his Tokyo project, and the resulting collaboration looks a million bucks, while never not feeling like a Kiarostami movie, with all of the director’s unmistakable visual (and aural) motifs harmoniously in the mix. I can’t wait to see it again.
October 06, 2012
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The decision to set Like Someone in Love in Japan might seem like an arbitrary obstruction given that the film is so entombed by its interiors, but it’s easy to imagine that Kiarostami hoped to lose something in translation, to amplify the fundamental unknowability of his characters by forcing them to speak in words authored by a man for whom they would ultimately have no meaning.
October 06, 2012
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The story’s sentimental and fable-like contours emphasized by Kiarostami’s distinctive blend of analytical stylization and documentary avidity throw character traits into sharply foregrounded relief while filling in the background with a surprising density of relationships and their moral twists.
October 01, 2012
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Like Someone In Love may not be entirely successful in linking its thematic intransigence to its noticeable undercurrent of symbols and ideas, but Kiarostami’s general dexterity sustains it through frequent lulls: Whatever’s going on here, there certainly aren’t many other movies like it.
October 01, 2012
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There’s a pervasive sense of unease in every masterfully composed frame. But the film’s shock climax is too-rigorously telegraphed, and Kiarostami’s celebrated ambiguity—seen in Taste of Cherry and elsewhere—entirely eludes him.
September 28, 2012
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Kiarostami here is a distant observer, to borrow Noël Burch’s phrase, a very cool poker player giving out just enough bits of information (some of it funny, some of it menacing) to steer you in one direction while he—as befits a film of alluring empty zones, identity games, and punchlines forgotten and misunderstood—goes another.
September 07, 2012
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In some respects, Like Someone in Love is more challenging viewing precisely because there’s nothing obtrusively clever or manipulative about it. Kiarostami seems, at least at first glance, to be primarily preoccupied with transforming the hooker-with-a-heart-of-gold genre—however subtly reformulated—into a cerebral study of the ambience of deluded love and the entanglements that result from mutual misunderstandings.
September 01, 2012
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It is far and away the most bizarre and unexpected film in Cannes; luckily having read nothing about it before the screening, it has become the first film here and indeed for quite some time that, as I watched it proceed, I never knew moment to moment where it would go. It is a rare experience indeed to have cinema blindside you, hold you in vague anticipation, be ambushed and mis (or re-) directed.
May 23, 2012
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Having morphed into a predictably unpredictable filmmaker so far in the 21st century, the extent to which Abbas Kiarostami’s new film Like Someone in Love defies categorization is startling, if not invigorating. Filming once again in an unfamiliar setting – this time Tokyo – the Iranian master has manufactured an avant-garde love story that feels entirely alien within his filmography, not to mention most of contemporary world cinema.
May 22, 2012
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Denial and delusion ripple the pristine visual surface of Like Someone in Love, Abbas Kiarostami’s masterful critique of social and emotional formality, set in Japan. The importance of perception cannot be understated here, since the film often buries its cutting ideology beneath a measured narrative pace interspersed with hypnotic silences.
May 22, 2012
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Ending menacingly, Like Someone in Love has the distinction of being the most unpredictable title to screen in competition so far… Unlike the bickering couple in Certified Copy—for which an exhaustingly histrionic Juliette Binoche was awarded Best Actress at Cannes—the mysterious central trio in Like Someone in Love never wear out their welcome.
May 21, 2012
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As much as it takes mistaken and appropriated identity as a subject (not unlike Kiarostami’s last film, Certified Copy), Love’s own enigmatic, constantly shifting generic identity is at least as compelling as any of its actual content (and I was pretty enraptured throughout, though sometimes mostly by aesthetics — the look is gloriously polished).
May 21, 2012
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Like Someone in Love is a chillier, less accessible piece of work [than Certified Copy]. There’s more puzzle and less emotion, although the movie is as elegantly constructed in its symmetries as anything the filmmaker has made.
February 28, 2012
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As the title indicates, Kiarostami includes some cooing Ella Fitzgerald on the soundtrack, and who can’t luxuriate in that music? Alas, the jazz lends an unearned sophistication to a tale that abruptly ends in a gag that’s close to a Playboy one-liner. The director has made disappointing films before—a more generous word might be transitional—but never one so slight.
February 12, 2012
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