I think highly of cinema that initiates a compelling inner dialog especially when in the end you don't reach any closure. So much about happy endings.
Abbas Kiarostami's 'Certified copy' uses this ambiguity extremely well.
Of many Persian directors that I tend to confuse with each other except Majidi, from now on he is not the only one. Now there are two of them to distinctly remember and 'follow'.
Movie starts with a London writer, Shimell, attending launch event of its translation in Tuscany, the book flaunts the controvercial name - copy. Book as he describes is about art is in its perceptual value and not about its being original or copy. Among the admirer and attendee is Binoche, who runs a antique shop which sells copies of great originals and had views of her own. They end up spending time together later on and exchange views without necessarily sharing it, squabble through.
At a coffee shop he is mistaken for her husband and from the moment as they walks out, their interaction changes to as if they are married for real.
Abbas uses the graphic treatment of frame within frame with the use of mirrors when they argue over the statue and its artistic worth. Now the whole argument of fake-real uses the same recursive mechanism within the medium of movie making which itself is based on suspension of disbelief. He leaves the exact relation between shimmel and binoche ambiguous driving his point home.
He mixes his argument with light hearted almost natural comic vein at multiple instances. When they are approached by newly married couple or when Binoche waves at them from after the wine and outburst episode, or when Julian, her 8 yr old kid, decides to interrogate his mother for good, when she over phone help them find something. Juliette Binchoe is fantastic in her grace and illusive comedic presence.
This cinematic style does reminds of Linklaters. All those conversation heavy scenes - before sunrise. But the kiorastami and his graphic sense take this movie to different level than just an intelligent argument with yourself. Abbas is known for use of Persian poetry and so is Shimell takes refuge of poetics 'Garden of leaflessness' when he tries to convince her.
Go for it for a lingering thoughts of the movie that remains long after it is over.
