KRZYSZTOF KIESLOWSKI: AN AMERICAN CINEMATHEQUE RETROSPECTIVE

The esteemed Polish filmmaker, Krzysztof Kieślowski will be honored with a tribute by the American Cinematheque with a screening of his best known works which includes his celebrated "Three Colours" trilogy. The retrospective will begin on May 3rd and running through July 12th with screenings held at the Aero Theatre, Los Feliz 3 and Egyptian Theatre.

Kieślowski, who passed away in 1996 at the age fifty-four during open-heart surgery following a heart attack, had been awarded numerous prizes throughout his career that included a 1988 Cannes Film Festival Jury Prize, the Venice Film Festival Golden Lion in 1993, the Berlin International Film Festival Silver Bear as well as receiving Academy Award nominations for Best Director and Best Original Screenplay in 1995.

Born in Warsaw, Kieślowski had no real career goals, briefly attending firefighters' training school and then wanted to become a theatre director but lacked the proper education and settled on cinema. He applied to the Łódź Film School and was rejected three times before finally being accepted. After making several short films, Kieślowski's first major project was a documentary and his first film for television, "Workers '71: Nothing About Us Without Us" in 1972 which focused on workers discussing the reasons for the mass strikes of 1970. Frustrated by the censorship of his film by the government when it aired, Kieślowski decided to focus largely on fiction which would allow him more artistic freedom and control over his work.

His first feature film was "Personnel", a 1975 television drama about a young man who finds work as a tailor at an opera and becomes disillusioned by the harsh realities of stage productions, that would win numerous awards at national festivals including the Grand Prize at the Mannheim International Film festival. Kieślowski's work during his early period were shot in a documentary style with many nonprofessional actors which includes "Blizna (The Scar)", "Przypadek (Blind Chance)" and No End "Bez końca (No End)". This lead to the 1988 television movie, "Dekalog" which featured a series of ten hour-long episodes set in a Warsaw tower block, each loosely based on one of the Ten Commandments. The program helped Kieślowski attract foreign financing for his next films, mainly from France, which allowed him to have a bigger budget and expand his vision to create his work.

The first was "The Double Life of Veronique" in 1990 which starred Irène Jacob as two women, one Polish and the other French that do not know each other, who share a deep, emotional bond that transcends language and geography. This film became internationally acclaimed, winning the FIPRESCI Prize at the Cannes Film Festival, as well as the Best Actress award for Jacob.

His next project was the ambitious feature film trilogy, "Three Colours (Blue, White, Red)", which explores the virtues symbolized by the French flag. "Blue" (which symbolizes liberty) starred Juliette Binoche as a woman whose husband and daughter are killed in a car accident and then tries to isolate herself from life. "White", about equality, is a psychological comedy involving a Polish man (Zbigniew Zamachowski) living in Paris that suffers several humiliating circumstances after being left by his French wife (Julie Delpy). And Irène Jacob starred in "Red" (which represents fraternity) with her playing a model whose life dramatically collides with a bitter retired judge (Jean-Louis Trintignant). Despite the critical acclaim for these films, Kieślowski announced he was retiring in 1994 following the premiere of "Red" at the Cannes Film Festival. He had become physically and emotionally exhausted from the process of filmmaking as well as claiming to really never enjoyed making movies.

Whether this was true or not, Kieślowski revealed himself to be a true cinematic visionary, leaving behind an indelible collection of films ranging from the social realist examinations of life under communism to the universal complexities of the human condition.

Please click below for additional information and to purchase tickets:

Krzysztof Kieślowski: An American Cinematheque Retrospective

2024 TORONTO FILM FESTIVAL

I live in Los Angeles where there is certainly no shortage of film events that occur here all year long. But I decided last year that I would really like to travel more to experience film festivals in other locations. So for my first outing, I will be attending the 2024 Toronto Film Festival. I have been to the capital city of the Canadian province of Ontario before but it has been a number of years since the last time I have visited. I really love the city and the people and I get to see movies there so I would say it's truly a win-win-win situation for me.

As for the 49th annual TIFF, there will be sixty-three movies in the Galas and Special Presentations section alone, hailing from twenty-five countries. This will include "Nutcrackers", a comedy-drama from David Gordon Green which will open the fest and make it's world premiere: "Hard Truths", the first movie in six years from British filmmaker, Mike Leigh which he reteams with his "Secrets & Lies" star, Marianne Jean-Baptiste; the latest feature directed by Angelina Joie, "Without Blood" that features Salma Hayek and Demián Bichir; Edward Berger's papal movie, "Conclave" which stars Ralph Fiennes, Stanley Tucci, Isabella Rossellini and John Lithgow; Fiennes will also appear in "The Return", a historical drama from Uberto Pasolini which reteams the actor with his "The English Patient" co-star, Juliette Binoche; Oscar-winning editor, William Goldenberg makes his directorial debut with "Unstoppable", a sports drama starring Jharrel Jerome and Jennifer Lopez; Cinematographer, Rachel Morrison makes her debut as a director with "The Fire Inside" a sports drama featuring a screenplay by Barry Jenkins: "Nightbitch" from Marielle Heller with Amy Adams as a harried mother thinking she's transforming into a dog; the animated, sci-fi wilderness adventure, "The Wild Robot"; the Cannes Palme d’Or winner, "Anora" from Sean Baker and Australian actor, Rebel Wilson's directorial debut, "The Deb", a musical-comedy will close TIFF.







There will also be programming sections of Documentaries, Centerpiece, Discovery, Primetime (which will focus on television programing), Short Cuts, Film Market (for film buyers and industry professionals), "In Conversation with..." events which will include Cate Blanchett (who will also be the recipient of the Share Her Journey Groundbreaker Award), Zoe Saldaña and Steven Soderbergh and free outdoor screenings of classic films. There will be a lot going on and I'm ready for it. The 2024 TIFF will begin on September 5th and run through September 15th. I will be attending the first seven days and writing a viewing diary of the films I will see there.

For the complete list of films, events and to purchase tickets, please click below:

2024 TIFF

MICHAEL HANEKE: AN AMERICAN CINEMATHEQUE RETROSPECTIVE

For the latest series by the American Cinematheque in Los Angeles, the complete film retrospective of the Austrian filmmaker, Michael Haneke will be presented beginning on May 4th and running through June 3rd. Haneke, the son of actors, Fritz Haneke and Beatrix von Degenschild, began his career working in the German television industry as a director before making his feature film debut in 1989 with "The Seventh Continent", a drama about the last years of an Austrian family told in three parts. 

With his fourth film, "Funny Games" in 1997, Haneke would first become recognized internationally for creating disturbing yet thought provoking cinema. He had originally wanted to set this controversial film in the US but it was not possible at the time. But ten years later, Haneke would do a shot-for-shot remake of "Funny Games" in English and set in America with Naomi Watts and Tim Roth starring. 

His subsequent films would also be intriguing and compelling works: "Code Unknown", "The Piano Teacher", "Time of the Wolf", "Caché", "The White Ribbon" (which won Haneke his first Palme d'or at the 2009 Cannes Film Festival), "Amour" (which Haneke received a second Palme d'Or and the Best Foreign-Language Film Oscar in 2012) and "Happy End", from 2017 which is his last film to date.

These films will be screened on selected dates at the Los Feliz Theatre in Los Angeles and the Aero Theatre in Santa Monica. The eighty-one year old Haneke will be involved in a live virtual conversation about his career before the double feature screenings of "The Piano Teacher and "Amour" on June 3rd. Please click below for more information and to purchase tickets:

American Cinematheque: Michael Haneke Retrospective

WINNERS OF THE 2022 BERLIN FILM FESTIVAL

"Alcarràs", Carla Simón's moving drama about a family of Catalan peach farmers, won the Golden Bear for Best Film at the 2022 Berlin International Film Festival. The Spanish director had previously won the Best Debut Feature prize at Berlinale back in 2017 for "Summer 1993". The Silver Bear Grand Jury Prize, which is the runner-up award, went to Hong Sangoo for "The Novelist’s Film", the Korean filmmaker's black & white drama involving artists working together as they all struggle with creative blocks. And the veteran French filmmaker, Claire Denis received the Silver Bear for Best Director with her latest, "Fire" (which is also being referred to by the title, "Both Sides of the Blade"), a dramatic love triangle that features Juliette Binoche, Vincent Lindon and Grégoire Colin.

Here is the partial list of winners from the 2022 Berlin Film Festival:

Golden Bear for Best Film: "Alcarràs"
Silver Bear Grand Jury Prize: "The Novelist’s Film"



Silver Bear Jury Prize: "Robe of Gems"



Silver Bear for Best Director: Claire Denis, "Fire (Both Sides of the Blade)"



Silver Bear for Best Screenplay: Laila Stieler, "Rabiye Kurnaz vs. George W. Bush"
Silver Bear for Best Leading Performance: Meltem Kaptan, "Rabiye Kurnaz vs. George W. Bush"



Silver Bear for Best Supporting Performance: Laura Basuki, "Before, Now and Then"
Silver Bear for Outstanding Artistic Contribution: Rithy Panh, "Everything Will Be OK"



Special Mention: "A Piece of Sky"
Berlinale Documentary Award: "Myanmar Diaries"
Special Mention (Documentary): "No U-Turn" 

Best Debut Feature: Kurdwin Ayub, "Sonne"
Encounters Best Film: "Mutzenbacher"
Encounters Best Director: Cyril Schäublin, "Unrest"
Encounters Special Jury Award: "See You Friday, Robinson"
Golden Bear for Best Short Film: "Trap"
Silver Bear for Best Short Film: "Sunday Morning"
Special Mention (Short Film): "Bird in the Peninsula"

CLOUDS OF SILS MARIA (2015)

Written & Directed by Olivier Assayas


Where & When: Sundance Sunset Cinemas, West Hollywood, CA.  April 25, 2015  1:40PM


"Clouds of Sils Maria" takes a look at a mature actress who has enjoyed a fruitful and acclaimed career on stage and screen. Now asked to join in a remake that made her famous, not in the role of the young girl she once played but of the damaged older character. The very thought brings out all of her fears and insecurities in an industry that holds aging in contempt, particularly for women. It may sound like another innocuous tale of Hollywood elitism but the latest by French filmmaker Olivier Assayas offers something far more intricate, dreamy and even mysterious. The director's films, especially his female-centric cult classics "Irma Vep" and "Demonlover", have been characterized as working within conventional themes before venturing towards a strange and unexpected course. "Clouds" certainly follows that path and while not entirely successful. it is well worth exploring.

It should be no surprise that Juliette Binoche, always one of the more compelling film performers working today, is absolutely riveting in the part of the actress. What is more of an eye-opener is Kristen Stewart as the devoted personal assistant. Never been much of a fan as I feel the young actress comes across far too sullen and detached on screen to be particularly engaging. The overwhelming fame she achieved from the "Twilight" series didn't help, seeming to cause her to withdraw even further. Although still not fully sold, I'll freely admit this is one of Ms Stewart's finest performances. She even earned the César for Best Supporting Actress for her work here, an impressive first for a non-French speaking actor.

An actress of international renown, Marina Enders (Binoche), travels by train to accept a career achievement award for Wilhelm Melchior, a popular Swiss playwright and filmmaker who gave the first major part to her in one of his early works, "Maloja Snake". In the middle of a nasty divorce, Marina would completely unravel without the sturdy assistance of Valentine (Stewart), who keeps her life organized, offers sound advice and holds her up during difficult situations. That certainly is required during this trip as she has the difficult task of informing Marina that her dear friend has passed away.

Distraught and unsure of whether to continue on to Zurich, Valentine convinces Marina to follow through with accepting the prize. While at the ceremony, the assistant talks her boss in to meeting with the in-demand director who wants her to star in a new stage production of "Maloja Snake". Having previously turned down the request to play the tragic role of the middle-aged woman who ultimately ends her life, the actress becomes more open but still reluctant to commit after some discussion.

Some time later at Melchior's chalet in the tranquil Swiss alps, Marina begins rehearsing for the play. With only Valentine by her side to help run her lines. Marina becomes increasingly more agitated as she digs further in to the role. Lost and unmotivated, she becomes wistful of her time as the ingenue. As for the acting rival that will be taking over her previous part, Marina is disturbed to find that Jo-Ann Ellis (Chloë Grace Moretz) is a troubled but talented young starlet with a wild lifestyle that helps make the paparazzi very rich. When they finally meet, Marina is surprised to find a polished and thoughtful actress before her, filled with gushing compliments though still far from tabloid-free.

The most fascinating feature of the script by Mr. Assayas is the working relationship between Marina and Valentine. Far from simple and straightforward, it may not be strange for two people who spend so much time together to be close but boundaries become blurred, positions of power shift and words spoken to each other appear to offer alternative meaning. This is particularly the case as Marina and Valentine run through lines of the play, the dark and complex conversation between the characters appear to bleed through in to their own elusive connection.

The odd plot twist in the final act throws "Clouds of Sils Maria" out of whack and doesn't fully recover. Despite this brief set back, the film remains just as graceful and majestic as the airy clouds we see traveling through those mountains in Switzerland. The additional treat of watching these wonderful actresses display their great talent makes this truly a magical experience.

GODZILLA (2014)

Written by Max Borenstein


Directed by Gareth Edwards


Where & When:  CineStar at The Sony Center,  Berlin, Germany. May 20, 2014  2:00PM


Godzilla, the undisputed king of the monsters, first started its reign of terror on Japanese audiences back in 1956. This campfest became a box-office sensation there. Raymond Burr, a little-known actor at the time, was spliced in to an English-language version a few years later and an international star was born. Although this giant sea creature's appearance came across slightly more cuddly than frightening, by today's standards anyway, it worked well enough to scare and excite viewers to spawn countless sequels, spin-offs and rip-offs including a much reviled Hollywood remake in 1998. Another attempt to revive this creature is now out by director Gareth Edwards and his "Godzilla" remains faithful to the spirit of the original film. This behemoth is modern-looking yet recognizable and made even more impressive in 3D with some pretty spectacular action sequences to keep you on the edge of your seat. While all of the thrills and destruction are just right, what is lacking, however, is a compelling human element to keep you engaged despite a classy cast of actors displaying some first-rate panic on their faces.

Many years after the U.S.testing of a hydrogen bomb on a island in the Pacific, what appears to be a massive skeleton is discovered in a collapsed mine nearby in the Philippines. A scientist (Ken Wantanabe) has been called out to investigate and finds that a large egg seems to have recently hatched and whatever was inside has gone out in to the ocean.

Joe Brody (Bryan Cranston), is an American managing a nuclear plant in Japan. High-strung and focused mainly on his work, he even forgets the day is his birthday. Lucky for Joe he has a lovely wife, Sandra (Juliette Binoche) who also works at the plant and a sweet young son that remembered. A strange seismic disruption causes panic at the nuclear facility and Joe and Sandra race out to find answers. As Sandra and her group go down to the reactors to check their condition, a major explosion occurs which could release radiation in to the city unless the area they're in is shut off. Torn between saving thousands of lives or his wife, Joe makes the difficult and tragic decision.  Despite his personal sacrifice, the reactors are destroyed by some unknown force, which is officially blamed on an earthquake, and the city becomes uninhabitable.

Fifteen years later, Joe's son, Ford (Aaron Taylor-Johnson) is now a Marine and has just come home to San Francisco to be reunited with his lovely wife (Elizabeth Olsen) and his sweet young son. Not long after the family celebration, Ford receives a call informing him that his father had been arrested for trespassing in the contaminated city in Japan. Reluctantly, he heads out to bail out his old man who is obsessed about finding out what really caused the nuclear plant's destruction. While Godzilla doesn't make it's presence known until about half way through the film, a M.U.T.O. or Massive Unidentified Terrestrial Organism emerges to terrorizes the city in the meantime. After another giant winged monster (this time female) appears looking for her mate and a convoluted explanation that all of these massive creatures are in search of nuclear energy to feed on, the human race is simply in the way as Godzilla and the monster couple battle for dominance.

The creation of Godzilla arose from the residue of the atomic bombing in WWII and the horrific aftermath which had left the Japanese shaken and uncertain of the future. The later films focused on other weighty topics such as the fear of alien invasion and threats to the environment. This Godzilla has pretty much steered clear of making any political statements with pure entertainment being the ultimate goal. However, the director Gareth Edwards, whose only previous film was the low-budget 2010 horror flick, "Monsters", has made a point of taking his version very seriously and with great respect. This is the first produced screenplay for Max Borenstein and while he's able to create some magic with setting up the impressive monster battles, his script fails to enlighten the flesh and blood characters. In fact, my biggest gripe with this film is the treatment of the cast.

The terrific actors used here are not the typical faces usually found in your average action-thriller yet they are spectacularly and shockingly wasted, particularly the glorious Ms Binoche. I don't even know why the Oscar-winning actress (who famously turned down the role that went to Laura Dern in "Jurassic Park") even agreed to be in this as she's given only maybe ten minutes of screen time that offers her no opportunity to properly utilize her gifts. Recent Oscar Nominee, Sally Hawkins, who was so brilliant in "Blue Jasmine" is equally underused here as an assistant to Mr. Wantanabe's nearly mute scientist. While Mr. Cranston has a slightly more substantial part but he's so ridiculously overheated that there are moments where his skull seemed ready to literally pop off.

With the aid of state-of-the-art CGI, this "Godzilla" becomes the monster of our times. This creature impressively smashes and thrashes to win the day but the overall feel is far too hollow and generic, making the film have as much depth as a video game.

COSMOPOLIS (2012)

Written & Directed by David Cronenberg


Where & When: Mann Chinese 6, Hollywood, CA. September 10, 2012  3:50PM



"Cosmopolis", David Cronenberg's confounding and plodding new film focuses on a day in the life of a highly stressed-out, obscenely wealthy one perecenter who feels his world crushing in on him due to a possible devastating, personal financial crisis, the rising revolt by the other ninety-nine percent and the potential threat by an unstable stalker.

Set in the not too distant future, Eric Packer (Robert Pattinson), a twenty-something, Manhattan billionaire who is burdened with too much time and money on his hands, has one simple goal for the day; to get a haircut from a specific barber across town.What should have been a simple ride is now complicated due to a visit by the President which has caused traffic to grind down to a crawl. While this could become a potentially unbearable situation for the average citizen but Packer is fortunate enough to be able to travel in style in the back of his luxurious stretch limousine. This state of the art machine serves more than one purpose as it's his home away from home that is highly comfortable and lined with all of the conveniences of modern technology.

Throughout his slow drive, a bevy of employees, associates, family and friends arrive in the limo to discuss various events and situations in the life of Eric Packer. The visitors include his tech guy (Jay Baruchel), the art consultant (Juliette Binoche), the chief advisor (Samantha Morton), a rap performer (K'naan), Elise (Sarah Gadon), the new wife who refuses to have sex with her husband and the doctor who performs his daily physical all under the watchful eye of his head of security (Kevin Durand).

As Packer moves closer to his destination, he becomes more erratic and unstable, committing shocking acts of violence before finally confronting the man that has been making threats against him, Benno Levin (Paul Giamatti), a former disgruntled employee.

Mr. Cronenberg's work tend to be either readily accessible ("The Fly", "Eastern Promises", "A Dangerous Method") or highly enigmatic ("Naked Lunch",  "eXistenZ", "Spider") with very little that falls in between with the possible exception of his 1996 controversial film, "Crash". This clearly makes him one of the most consistently fascinating filmmakers working today. Over the course of his career, the writer/director has adapted several seemingly unfilmable novels in to films with wildly mixed results but "Cosmopolis", based on the novel by Don DeLillo, was clearly misguided. This timely story which touches on this country's current financial crisis had clear potential but the execution of the film is what mainly brings this work down. Allowing most of the action to remain in the confines of the limo without giving the characters much more to do than simply talk (and talk) grows monotonous quite quickly with the uninspired attempts at humor and the largely, incomprehensible dialogue not helping matters.

The other problem was the casting of Mr. Pattinson. What was needed was a performer with some heft who would be able to draw you in to this dense material and could portray the dark inner life of this complex and unappealing character but unfortunately, the young actor is not quite up to the challenge. Perhaps his work playing an undead vampire in the "Twilight" saga seemed like he could be the right man for the job but all he seemed to expertly provide is the lifeless dimension of this character (and quite well I should add) but not much else. It didn't seem to matter what he was saying, Pattinson delivered each sentence with the same flat, monotone voice as his pained face still gave no clear indication of what his character was actually feeling. The only performers who managed to make any real impression were the much too brief appearances by Ms Binoche and Ms Morton, two very appealing character actresses who each manage to bring a spark of much needed life to these bleak proceedings.

"Cosmopolis" is another surreal vision by a passionate filmmaker with a eye for challenging, unconventional stories. While this is quite admirable and greatly appreciated but regrettably, his latest work lacks a pulse. There is a plot that could be taken straight from today's headlines but the film lacks persuasive emotion or outrage and there are plenty of eloquent words spoken but not nearly enough feeling behind them.

ELLES (2012)

Written by Malgorzata Szumowska & Tine Byrckel


Directed by Malgorzata Szumowska


Where & When: Nuart Theater, West Los Angeles, CA.  April 28, 2012  7:30PM


I have previously stated that Juliette Binoche is one of the greatest actresses working today and it bears repeating, most especially after witnessing her most recent performance in "Elles". As a feminist writer for Elle Magazine struggling to complete an article on college girls who turn to hooking to earn extra money which causes her to reexamine her own views and look at her privileged upper middle-class life and how she fits in, the actress is utterly beguiling and endlessly fascinating. Whether looking completely tortured while trying to complete her mundane house chores when she should be finishing her long overdue assignment, the sense of disappointment as she discovers her husband and teenage son both watch porn or giggling like a teenage girl when she gets drunk for the first time with one of the young working girls she's interviewing, Ms Binoche never delivers a single false moment. It is largely an internal performance as she spends much of her time alone on screen as we watch the joy, frustration or indifference flicker across her beautifully translucent face.

Anne (Binoche) searches for subjects for her article by calling ads and arranging appointments with these girls in the hope that they will share their stories with her. She finds two girls and while both are reluctant to speak to her, Anne manages to earn their trust. Charlotte (Anaïs Demoustier), who goes by the working name "Lola", comes from a modest middle-class background who feels that turning tricks is much easier than flipping burgers to earn money while attending school. However, Charlotte's unsuspecting boyfriend is feeling the effects of her occupation as she doesn't have much desire to satisfy any of his needs. Alicja (Joanna Kulig) is a street-smart Polish immigrant who has come to France to attend college but all of her belongings are stolen shortly after she arrives. With few options available to her, Alicja soon turns to prostitution as a way to help supply income for her education.

Anne is quite surprised to learn that these girls are far from traumatized by this work and appear to be well-adjusted and content. As she spends more time with these girls, Anne abandons her own moral judgements which allows her to openly share her views and feelings with them. This leads to Anne to question her comfortable lifestyle as she is feeling greatly unappreciated by her family. The exploits of these young women also make Anne realize how frustrated she is sexually as she wishes she could be more at ease as these girls

Malgorzata Szumowska, a celebrated Polish filmmaker who co-produced Lars von Trier's 2009 creepfest, "Antichrist", has taken an uncommon approach on the world's oldest profession as she touches on a feminist perspective of prostitution that these women are still victims despite making their own choices but also seems to offer the glossy male fantasy of gorgeous young women who are sweet-natured, happy-go-lucky and love their job. "Elles" is not told chronologically which makes the film seem choppy and fragmented as the scenes are not assembled together in a clear, associative way. Since we are not given much back story or proper introduction to some of the characters, this adds confusion as to where we are in the plot or how these new additions fit.

The scenes showing how the girls make their living are quite graphic and earned "Elles" the dreaded NC-17 rating which was accepted, surprisingly, without fanfare or argument. The sexuality is not presented to necessarily titillate but to simply show how these modern young women looked at this as nothing more than a part-time job in which they are in full control but also uninhibited enough to the point where sometimes they even enjoyed certain aspects of the more kinky sex acts they're paid to perform.

Although it offers nothing particularly fresh to the age-worn topic of working girls, "Elles" is slight but still fairly entertaining. The real reason to catch this film is to view another outstanding performance by Ms Binoche who is capable of making even the most simple gestures or mood seem effortless, rich and captivating.

CERTIFIED COPY (COPIE CONFORME) (2011)

Written & Directed by Abbas Kiarostami


Where & When: Laemmle's Pasadena Playhouse, Pasadena, CA  March 15, 2011  4:10PM



"Certified Copy" is probably one of the most strangest, confusing and unconventional love stories I have ever seen. I'm not sure what to make of this film but I have to say that I found the film completely engaging.

James Miller (William Shimell), a British art historian, is speaking to an audience in Tuscany about his new book about how a copy of an art piece is just as important as the original work. Elie (Juliette Binoche), a French antique art dealer living in Italy, is a fan of the book. She is attending the lecture but is unable to stay because she has to go and feed her teenage son (Adrian Moore).

Elie invites James to come to her shop later so she can further discuss his theory but he doesn't want to stay indoors. He wants to go out and see the city, so Ellie drives James to a part that she thinks he might want to see, where they proceed to talk, and talk. However, we assume that they have only just met but through their discussion, we are not sure whether they are an estranged couple pretending to have just met or they are truly strangers pretending to have had this long relationship.

It's not a spoiler to say that we do not find out the actual status of this couple but that isn't what the film is about. It's about discovering the emotional journey of these two people, as we watch them argue, tease, seduce, and aggravate each other and it doesn't seem important whether it's an authentic or just an imaginary relationship. "Certified Copy" makes me think of the terrific 1995 film, "Before Sunrise" where a young couple meet in Vienna and spend the entire day (and the movie) just talking and getting to know each other. While nothing but conversation worked very well for that film, but in "Certified Copy", I found that it was intriguing to a degree but because it is not clear what is the true nature of their relationship, it made frustratingly difficult to completely connect with these two people.

Mr. Kiarostami is the acclaimed veteran director of over forty films with this being his first feature made outside of Iran. The filmmaker feels no particular need to explain and would much prefer to let the audience interpret from the characters' conversations, actions and the visual cues to what is actually true.

Mr. Shimell, who took a break from his day job as a celebrated opera singer, makes his film debut and delivers an authoritative performance. He and Ms Binoche have a warm, easy-going rapport that is quite enjoyable to watch.

As for this celebrated French actress, she is the main reason to see "Certified Copy". Ms Binoche is one of my all-time favorite actresses and think she's among the best currently working in cinema today. And in this film, she is transcendent. Not only impressively speaking French, Italian and English competently but Binoche's luminous, expressive face conveys the many thoughts and feelings her character is going through that words could never properly explain. And she won a well deserved Best Actress Award at the 2010 Cannes Film Festival for her role.

If you prefer your cinema easily digestible, then "Certified Copy" is definitely not for you. But if you enjoy seeing films that can be challenging and thought provoking, then you might want to check this out.