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QUALCUNO DA AMARE

Abbas Kiarostami Giappone, 2012
The Metrograph Edition
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.
giugno 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.
maggio 19, 2014
Grolsch Film Works
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.
maggio 19, 2014
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.
maggio 16, 2014
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.
luglio 8, 2013
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.
giugno 21, 2013
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.
giugno 21, 2013
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.
giugno 17, 2013
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.
maggio 10, 2013
Abbas Kiarostami (book, expanded Argentinian edition)
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.
marzo 17, 2013
They Live by Night
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.
febbraio 16, 2013
...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.
febbraio 14, 2013