Certified Copy (2010) Romance Movie Review

The movie follows a woman, played by Juliette Binoche, attending a lecture in Italy by an art historian, portrayed by William Shimell. The lecture explores the distinction between original art and its copies, raising the question of whether there is any real difference between the two. The woman is intrigued and wants to meet the art historian. After a flirtatious conversation, she offers to drive him to a nearby village in Tuscany. During the drive and at a local cafe, their relationship appears to evolve, with the cafe owner assuming they are a married couple.

The puzzle arises as to what their true relationship is — are they a couple pretending to meet for the first time, or a new couple pretending to be married? The confusion deepens as the characters' interactions shift. 

The film keeps us guessing: Is there an underlying reality, or is the director, Abbas Kiarostami, toying with our perceptions?

The storyline suggests that the characters may start as strangers and later transform into an established couple. Kiarostami's intent might be to illustrate how reality can be manipulated by the artist, blurring the lines between the original and the copy. However, it leaves room for interpretation, and viewers may find themselves questioning the director's true message. Despite the ambiguity, Kiarostami's skillful execution provides some consolation, making the film a thought-provoking experience.

The woman, who remains unnamed, and the art historian, James Miller, are portrayed as clever and entertaining characters in "Certified Copy." Despite not knowing exactly what they're up to, I found their interactions enjoyable. Both Juliette Binoche and William Shimell keep us in suspense, never giving away their true intentions. Initially, Binoche's attraction to Miller suggests a shared history, but the story takes unexpected turns, leaving us wondering about off-screen dimensions and untold side stories.

Director Abbas Kiarostami skillfully creates off-screen spaces, evident from the opening scene where Binoche sits in the front row of a lecture hall. The camera focuses on her, but we never see Miller's reaction to the commotion happening in front of him. This creates implied drama, making us question what Miller might be experiencing.

During the long drive they take, Kiarostami continues his trademark of filming people in cars. This technique not only explains the characters' positioning but also implies off-screen events on the road. It adds depth to the narrative, involving the passing scenery and enhancing the overall experience.

The film prompts us to question whether there's more to the story than meets the eye, challenging the concept of complete, objective reality. Similar questions arise about the value of a copy compared to an original masterpiece, like the "Mona Lisa." The movie leaves these questions unanswered, and we're left to ponder if that's the very point Kiarostami wants to make. Despite the lack of clear answers, the engagement with these thought-provoking themes is commendable, even if the ambiguity may leave us with more questions than solutions.