[ Directed by ]
[ Produced by ]
• Marin KARMITZ
• HORIKOSHI Kenzo
[ Cast ]
• TAKANASHI Rin Akiko
• OKUNO Tadashi Takashi
• KASE Ryo Noriaki
[ Staff ]
• Screenplay: Abbas KIAROSTAMI
• Cinematography: YANAGIJIMA Katsumi
• Editor: Bahman KIAROSTAMI
• Sound Recording: KIKUCHI Nobuyuki
• Production Design: ISOMI Toshihiro
[ Production Company ]
[ Distributor (Japan) ]
Release Date: September 15, 2012
Running Time: 109 min
Screening Format: DCP
Screen Size: European Vista (1:1.66)
[ Story ]
The first ever Japanese language drama featuring a Japanese cast and crew and shot on location in Japan from director Abbas Kiarostami. In his first lead role, 85-year-old Okuno Tadashi gives a rich and accomplished performance as an elderly intellectual obsessed with love.
Former university professor Takashi (Okuno) invites a female student named Akiko (Takahashi Rin) who resembles his late wife to visit his home, but her mind is miles away. The following day, Takashi takes Akiko to university where a man named Noriaki (Kase Ryo) who claims to be her fiance mistakes him for her grandfather.
[ Official Site ]
[ Premiere ]
World Premiere: 2012 Cannes International Film Festival, Competition
An old professor meets a young woman who agrees to become a prostitute to earn some money. She does not know anything about him but he thinks he knows her already. He hosts her in her home while she offers him her body. They will spend a whole day together, learning unseen details of the life and thoughts of the other.
Tokyo is a city present and absent at the same time in Like Someone in Love by Abbas Kiarostami, a sophisticated comedy almost exclusively set in cars, traveling among the neighborhoods of a city that touches the eye with the elusive lightness of the reflection. After Amir Naderi with Cut, Abbas Kiarostami also finds in Japan a new, surprising turning point and, like Naderi, he does it slightly, with no apparent extraordinary transformations. Like Someone in Love is in fact a Japanese film for production and cast (in co-production with France), but also for the essentiality of a look that becomes impalpable, fluid non-story all to be grasped in the slight inconsistency of the images that they reveal on the windows of cars, in fact, or through them.
Akiko is a double life student. He has a jealous boyfriend, a family worried about her and a double identity as a prostitute. Impossible to keep everything separate, when grandma arrives in Tokyo in surprise, her boyfriend oppresses her with jealousy and her nightlife follows unexpected drifts. Here is the starting point of a journey that as always in the cinema of Kiarostami, takes place on the face of his characters. Close-ups bold for duration and meaning, intense for speed and slowness. In an almost invisible city, hidden but fully understood, a play of impossible contrasts is staged, where seeing means trying to see what is not shown. Akiko meets Elder Takashi who has prepared dinner for her and would like to ward off her loneliness for one night. But Akiko falls asleep in her bed and leaves him helpless to watch her sleep, speechless and without explanation. From the next morning they will be friends and accomplices in this coming and going in the streets, between confidences and small lies, in the constant misunderstandings sought for false truths and unsaid. Everything, after all, started with a sweet misunderstanding, almost a joke, a challenge between the film and the spectator: in a nightclub, a girl is engaged in a conflictual conversation with her boyfriend. But you can not see the face because the camera remains fixed on the indistinct landscape of men and women sitting at the tables. Feeling without seeing, the progressive becoming of things is the anticipation of what will come, in the opposite form. The reverse will come, and we will see the face of Akiko, but this first empty space has already conditioned the looks and the only possible opposition, which will be repeated from now on, will be that between truth and dissimulation, one in front of the other , but separated by a glass, closed or ajar, which will really break only at the end, when the fiance will throw a stone against the window of the old man. The misunderstanding has gone too far and serves a ploy to get things back into balance.
Similar to Copy compliant, and at the same time different. Equal the mechanism, indeed, the intention of the unveiling of the truth, yet different because, unlike Copy Conform, this is not a palindrome movie, ready to start again from the end. Like Someone in Love ends, in fact, with a definitive gesture that breaks all the concentric charms, all the sequence planes that encircle the real and support the illusion of truth. Like the double taxi ride around the Tokyo station square, while Akiko observes her grandmother who has been waiting for her for hours. She appears far away, despite her voice recorded on the answering machine accompanying part of the journey. Indeed, precisely for this even more distant.
Presented in competition at the last Cannes Film Festival.