Film Micrœview #165: Certified Copy (2010)
11.04.2014 § 2 Comments
Makhmalbaf and Kiarostami, the two Iranian filmmakers I’m most familiar with, seem obsessed with veracity, or anti-veracity perhaps one could say. And that’s fine with me! I didn’t expect from the unassuming opening half of this movie that it could spiral out into such complexly ambiguous layeredness. Ultimately, truth, identity, and art, and all the pretensions around them, give way to pure emotionality, presence, and beautiful mystery. I don’t even know whether Binoche (whose character had no name, apparently) is re-enacting moments from memory (which could make sense, making Miller [AKA “Grumpet Clooney”, seeing as he is a grumpy crumpet muppet version of George] a good copy of her husband, per the original title of his book), or if they’re both completely improvising.
Now, these two people were a bit too rude and dramatic for my tastes, but I don’t think overly so — just enough to earn them their catharsis. Many will be frustrated on all three counts — their annoying personalities, the nonsensical unraveling of narrative halfway through, and the sudden ending resolving nothing. I wish these many could just give up, let go, and let it be. Ironically, I doubt they realize that they’re more like the characters, then, than the artsy fartsy pants people that they think enjoy the movie.
Loved the allllmost-dead-on central framings of Binoche where she seems to break the fourth wall. And always love Kiarostami with a car. He really knows how to frame scenes.
A cameo by Jean-Claude Carrière, a frequent collaborator with and autobiographical ghostwriter of Luis Buñuel, is another fun bit.