I watched this with my wife last night. I should mention that we are also both certified copies...and we enjoyed this unique film which leaves one with more questions than answers.
I'm trying to find evidence of something I *thought* I saw on a bonus section to another Abbas Kiarostami film, wherein he seemed to express years after his divorce, some form of love/divorce/understanding/pain/joy regarding his wife. Such is the nature of many amorous relationships. Maybe from the very original couple on (whether it's Adam and Eve/Hawwa or say Ook and Ookla) to every couple ever since.
A mix of you complete me vs you confound me. This seems at the core of this film, as we see many couples besides the the primary one involving James and I believe an unnamed Juliette Binoche role (the credits refer to her as Elle both a name and not a name).
Other side couples offer a great range of variations on a theoretical masterpiece. The coffee-shop lady, even without her man in scene makes her pragmatic case. The older couple at the fountain, seeming in a bitter disagreement until the camera reveals he is frustrated with a phone call. The statue in the fountain, which apparently bothered both the director and the star actress, for different reasons, too much to display. And do not forget the quite aged couple leaning upon each other, saying much in complete silence.
The trip Elle takes her man on to the church and adjacent museum with an art object as some sort of blessing stone for newlyweds. An eager couple pulls in the main duo for a photo/memento, while at that same moment a very unblissful bride takes center scene on a bench. James offers some sort of pronouncement off screen to the eager couple, but like the movie itself, it is apparently a mixed message. We don't hear it, but are told of its sweet yet sardonic nature.
Trying to rationally approach any relationship is a challenge and here it seems to be a critical mistake. It will frustrate the viewers as surely as it frustrates the couple, James strives to take this logical high road, but falters again and again.
The initial setting of an art/book lecture dealing with original vs copies, is the other key thread. It helps to set up the agitation coming between James and Elle. While on a gloriously filmed car ride (btw perhaps see the "Roads of Kiarostami" if you have not yet), the author James maps out his pretty clear understanding for consideration. That the power of art is really more in the eyes of the beholder. It's one thing for him to say, but he struggles with that as they ride through gorgeous Italy country-side, and through a confusion of past/present/eternity.
It is a confusing film, but that is not to say it was not rewarding. Binoche's "face dancing" tugs at even the most stalwart, stodgy heart. Confusing and rewarding, elements of artifice and true art - all worth the ride one hopes.
The final shot, as James steps away from a window to reveal two bells, not quite in sync nor in harmony, yet still making a triumphant sound together. Perhaps wedding bells, as another certified couple exchange vows.
One side note, I was somewhat pleased to read now that back in 2015, there was a Fajr International Film Festival to honor the late, great Abbas. Granted it included a blurring of Binoche's lowcut dress, some credit to Iranian authorities for actually hosting the festival but good luck to them if they think that is the most difficult aspect of any couple. In Tehran, Italy or anywhere.
I'm trying to find evidence of something I *thought* I saw on a bonus section to another Abbas Kiarostami film, wherein he seemed to express years after his divorce, some form of love/divorce/understanding/pain/joy regarding his wife. Such is the nature of many amorous relationships. Maybe from the very original couple on (whether it's Adam and Eve/Hawwa or say Ook and Ookla) to every couple ever since.
A mix of you complete me vs you confound me. This seems at the core of this film, as we see many couples besides the the primary one involving James and I believe an unnamed Juliette Binoche role (the credits refer to her as Elle both a name and not a name).
Other side couples offer a great range of variations on a theoretical masterpiece. The coffee-shop lady, even without her man in scene makes her pragmatic case. The older couple at the fountain, seeming in a bitter disagreement until the camera reveals he is frustrated with a phone call. The statue in the fountain, which apparently bothered both the director and the star actress, for different reasons, too much to display. And do not forget the quite aged couple leaning upon each other, saying much in complete silence.
The trip Elle takes her man on to the church and adjacent museum with an art object as some sort of blessing stone for newlyweds. An eager couple pulls in the main duo for a photo/memento, while at that same moment a very unblissful bride takes center scene on a bench. James offers some sort of pronouncement off screen to the eager couple, but like the movie itself, it is apparently a mixed message. We don't hear it, but are told of its sweet yet sardonic nature.
Trying to rationally approach any relationship is a challenge and here it seems to be a critical mistake. It will frustrate the viewers as surely as it frustrates the couple, James strives to take this logical high road, but falters again and again.
The initial setting of an art/book lecture dealing with original vs copies, is the other key thread. It helps to set up the agitation coming between James and Elle. While on a gloriously filmed car ride (btw perhaps see the "Roads of Kiarostami" if you have not yet), the author James maps out his pretty clear understanding for consideration. That the power of art is really more in the eyes of the beholder. It's one thing for him to say, but he struggles with that as they ride through gorgeous Italy country-side, and through a confusion of past/present/eternity.
It is a confusing film, but that is not to say it was not rewarding. Binoche's "face dancing" tugs at even the most stalwart, stodgy heart. Confusing and rewarding, elements of artifice and true art - all worth the ride one hopes.
The final shot, as James steps away from a window to reveal two bells, not quite in sync nor in harmony, yet still making a triumphant sound together. Perhaps wedding bells, as another certified couple exchange vows.
One side note, I was somewhat pleased to read now that back in 2015, there was a Fajr International Film Festival to honor the late, great Abbas. Granted it included a blurring of Binoche's lowcut dress, some credit to Iranian authorities for actually hosting the festival but good luck to them if they think that is the most difficult aspect of any couple. In Tehran, Italy or anywhere.