La grande bellezza (The Great Beauty, 2013)


NEW RELEASE FILM REVIEW || Director Paolo Sorrentino | Writers Paolo Sorrentino and Umberto Contarello | Cinematographer Luca Bigazzi | Starring Toni Servillo, Carlo Verdone, Sabrina Ferilli | Length 142 minutes | Seen at Cineworld Fulham Road, London, Sunday 22 September 2013 || My Rating 3 stars good


© Medusa Film

A film has to be very sure of itself to carry off such a long running time. Having now seen it, I’m unclear exactly how it managed it — the narrative is discursive, flitting about fairly freely — but it has, becoming in the process a rather heady and passionate film about Rome and its social whirl. Now I’m at home, sipping on some red wine because it feels like the Roman thing to do, wishing I was a smoker like the film’s protagonist, and wondering how much an apartment overlooking the Colosseum costs.

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Copie conforme (Certified Copy, 2010)


FILM REVIEW || Director/Writer Abbas Kiarostami | Cinematographer Luca Bigazzi | Starring Juliette Binoche, William Shimell | Length 106 minutes | Seen at home (Blu-ray), Tuesday 9 July 2013 || My Rating 3 stars good


© MK2 Diffusion

There’s a playful quality to all of Abbas Kiarostami’s films, but playful in the formal sense — of an artist grappling with and pushing at the boundaries of narrative, of how things are represented on screen and how those images are interpreted by the viewer. These are philosophical concerns, ontological questions about the nature of reality, which I cannot pretend to be an expert in. And if the idea of a philosophical cinema seems a little dry, well there are times in Copie conforme when it does seem that way, although I wouldn’t want to suggest this characterises Kiarostami’s filmmaking as a whole. I liked his most recent film Like Someone in Love, and his Iranian features are wonderful. However with this, his first non-Iranian feature film — it’s set in Italy and is in English, French and Italian — I find my attention wandering.

The structure of the film remains interesting. It follows James, an author played by opera singer William Shimell, who meets an antiques dealer (Juliette Binoche) while promoting his book in Italy. She drives him out to a pretty spot in the countryside while they chat. When they stop for a coffee, the lady serving them mistakes them for a married couple, which they play along with for a bit, but after leaving, the line between play and reality becomes blurred. Given that James’s book is entitled Certified Copy and it’s about the idea that the copy of a work of art can be just as valuable if not more so than the original, so the play between reality and fiction in their personal lives becomes a focus for the film. In fact, hints of this married status permeate the film from the outset — some of the ways that James acts around Binoche’s character (who is unnamed) suggest a deeper connection, and yet at the start they clearly do not know one another: he signs her book before going up to speak while she and her son take their seats in the audience.

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