The painting “Liberty Leading the People” by Eugene Delacroix rests on the wall in the Louvre. When I visited there, I saw it and immediately thought of Coldplay’s “Viva La Vida.”
The symbolic meaning of the song associated with the fake image on the Coldplay album cover meant more to me than the symbolism behind the real thing. In fact I admired both equally.
The academic argument that serves as the initial basis of “Certified Copy” is that we often admire the copy of a work of art because in truth, all art is really just a representation of something.
But the miracle of Abbas Kiarostami’s film is in the seamlessly cinematic way he exposes the differences between what we think is real and what we think must be fake by staging stark and intertwining romances.
“Certified Copy” is a film that can hardly be spoiled by discussion. It demands to be seen and further discussed as soon as it completes casting its spell on you.
This is because its story is the rudimentary interaction between the author James Miller (William Shimell) and an antique shop owner, Elle (Juliette Binoche). They walk through the small Italian town of Arezzo and do little more than talk, visit art museums and eat.
Yet “Certified Copy’s” concept has the depth and complexity of “Inception” without the science fiction hang-ups.
It begins with James’s lecture on his new book discussing his theory that we often admire the copy of a work of art as much as the original. Elle is a fan with mixed feelings about the book, but she’s responsible for showing him around town before he catches a train back to England.
Their discussions go deeper than their thoughts on artwork. We learn each character’s histories, some of their insecurities, their thoughts on how to live life. Perhaps the most poignant thing they reveal is that life is hardly supposed to be simple because humans are far from physically simple creatures. Kiarostami’s work is hardly this simple either.
Elle attempts to show James a work of art in a museum that was once considered an original work of art, but is still admired because of its beauty and magnificent age. He’s less than impressed, and when they sit down for coffee later she seems suddenly detached and disappointed.
These early conversations are academic and are not entirely practical, but the film acknowledges this as such and finds ways to make everything said meaningful. Even more mundane conversations are compelling through carefully intimate and minimal photography and editing.
But what if I said this was not the set up of “Certified Copy” at all? What if you knew this story was a lie? Would their dialogue be any less engaging and thought provoking? Does it change what we know about the characters?
Kiarostami’s second half is hauntingly intense as Elle and James begin acting out an entirely different reality. It seems an act at first when a waitress mistakes them as a married couple, but the truths and pains Elle brings up seem all too real to be made up. In this new vision, James and Elle are an unhappily married couple of 15 years. Maybe that’s the beauty of the fake.
Notice how without any fades, inter-titles or visual cues, we can sense a difference in these characters. The camera will effortlessly follow as one person wanders off to aimlessly examine something, and as the action returns without any additional edits, the mood seems to have changed. The lighting on Elle’s face seems to make her look pale and not as delicately beautiful as she once was. It’s seamlessly perfect filmmaking.
Juliette Binoche and William Shimell give powerhouse performances. They exert such passionate, intelligent, lovely and conversely hateful conversations. They gracefully move from a timid acquaintance to a loud married couple without for a moment compromising their character’s integrity. Shimell is impressive considering he’s new to the screen. Best known as an opera star, he still gives a virtuoso performance full of booming masculinity. Binoche too is magical in three different languages.
“Certified Copy” did a number on me. Kiarostami manipulates us elegantly and weaves an intricate character study through seemingly no bells and whistles and all. The film intentionally boggles us, refuses to give concrete answers and doesn’t aim to justify its impossible logic. This is a wonderful paradox of a movie.
4 stars
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