Montag, 21. Mai 2012
Cannes-Ticker: 21. Maischwanenmeister, 03:48h
"Like Someone in Love" (Abbas Kiarostami) ***½
[Wettbewerb]
"LIKE SOMEONE IN LOVE is the strangest, most profoundly ambiguous, mystifying and perhaps freshest competition film", schreibt Geoff Andrew (Sight & Sound). "Female soul/body/mind as formality object, male denial of that tradition, & the consequences. Titanic (A)", schreibt Glenn Heath Jr. (Slant Magazine). "I honestly really dug this. Has an interesting comical charm to it, incredibly refined direction", schreibt Alex Billington (FirstShowing). "But what is Kiarostami's point here, other than to toy with his audience?", fragt Sasha Stone (AwardsDaily). "Upscale art houses and admirers of the Palme d’Or laureate will be the major clients of this tenderhearted and melancholic work, provided its propos are not lost in translation", schreibt Jordan Mintzer (THR). "I kinda loved this. A copy of CERTIFIED COPY? A joke without punchline? Need to see again & again …", schreibt David Jenkins (Little White Lies). "Er ist voller komischer Momente", schreibt Michael Sennhauser (SRF). "Kiarostami manages to tell a somewhat interesting story in the most aggravating way possible", schreibt Ryland Aldrich (Twitch Film). "Abbas Kiarostami's Tokyo-set drama is beautifully shot and acted, but the curtain comes crashing down too abruptly (**)", schreibt Peter Bradshaw (Guardian). "An unofficial twin to COPY, sharing its playful preoccupation with identities mistaken and assumed, it's a more austere and less intellectual work", schreibt Guy Lodge (In Contention). "he great surprise of Cannes thus far. The movie is infused with a jazzy melancholy. But it's also a kind of screwball comedy, and kind of a noir", schreibt Karina Longworth (L.A. Weekly). "The more you delve, the more resonance you find; the problem is that Kiarostami fails to embed the film’s visual, aural and symbolic games in a narrative that satisfies on the level of story and character", schreibt Lee Marshall (Screen Daily). "it has become the first film for quite some time that, as I watched it proceed, I never knew moment to moment where it would go. It is a rare experience indeed to have cinema blindside you, hold you in vague anticipation, be ambushed and misdirected"; schreibt Dani Kasman (Mubi.com).
---Entdeckungen---
"White Elephant" (Directors' Fortnight, Pablo Trapero): "Adore Pablo Trapero's movies and WHITE ELEPHANT is one of his most powerful. Jeremie (CLOCLO) Renier is becoming my fave actor 2012", schreibt Alan Jones (FrightFest).
"Rengaine" (Directors' Fortnight, Rachid Djaïdani): "New highlight of the Quinzaine is the dynamic and smart RENGAINE, recalling at points the energy of HOMICIDE: LIFE ON THE STREETS", schreibt Robert Koehler (Variety).
---Bilanzen---
"Halbzeit-Bilanz: Zu viel Altherrenkino (Haneke, Kiarostami), zu wenig Frisches. Beste Filme bisher: JAGTEN und PARADIES: LIEBE", findet Christian Jungen (NZZ).
Todd McCarthys bisheriger Favorit heißt wie bei so vielen AMOUR, aber er mochte auch MOONRISE KINGDOM, RUST & BONE und JAGTEN.
Karina Longworth gibt ihre Sicht der Dinge in einem Radio-Interview. So richtig-richtig begeistert ist sie noch von keinem Film, aber sie mochte sehr MOONRISE KINGDOM und LIKE SOMEONE IN LOVE.
[Wettbewerb]
"LIKE SOMEONE IN LOVE is the strangest, most profoundly ambiguous, mystifying and perhaps freshest competition film", schreibt Geoff Andrew (Sight & Sound). "Female soul/body/mind as formality object, male denial of that tradition, & the consequences. Titanic (A)", schreibt Glenn Heath Jr. (Slant Magazine). "I honestly really dug this. Has an interesting comical charm to it, incredibly refined direction", schreibt Alex Billington (FirstShowing). "But what is Kiarostami's point here, other than to toy with his audience?", fragt Sasha Stone (AwardsDaily). "Upscale art houses and admirers of the Palme d’Or laureate will be the major clients of this tenderhearted and melancholic work, provided its propos are not lost in translation", schreibt Jordan Mintzer (THR). "I kinda loved this. A copy of CERTIFIED COPY? A joke without punchline? Need to see again & again …", schreibt David Jenkins (Little White Lies). "Er ist voller komischer Momente", schreibt Michael Sennhauser (SRF). "Kiarostami manages to tell a somewhat interesting story in the most aggravating way possible", schreibt Ryland Aldrich (Twitch Film). "Abbas Kiarostami's Tokyo-set drama is beautifully shot and acted, but the curtain comes crashing down too abruptly (**)", schreibt Peter Bradshaw (Guardian). "An unofficial twin to COPY, sharing its playful preoccupation with identities mistaken and assumed, it's a more austere and less intellectual work", schreibt Guy Lodge (In Contention). "he great surprise of Cannes thus far. The movie is infused with a jazzy melancholy. But it's also a kind of screwball comedy, and kind of a noir", schreibt Karina Longworth (L.A. Weekly). "The more you delve, the more resonance you find; the problem is that Kiarostami fails to embed the film’s visual, aural and symbolic games in a narrative that satisfies on the level of story and character", schreibt Lee Marshall (Screen Daily). "it has become the first film for quite some time that, as I watched it proceed, I never knew moment to moment where it would go. It is a rare experience indeed to have cinema blindside you, hold you in vague anticipation, be ambushed and misdirected"; schreibt Dani Kasman (Mubi.com).
---Entdeckungen---
"White Elephant" (Directors' Fortnight, Pablo Trapero): "Adore Pablo Trapero's movies and WHITE ELEPHANT is one of his most powerful. Jeremie (CLOCLO) Renier is becoming my fave actor 2012", schreibt Alan Jones (FrightFest).
"Rengaine" (Directors' Fortnight, Rachid Djaïdani): "New highlight of the Quinzaine is the dynamic and smart RENGAINE, recalling at points the energy of HOMICIDE: LIFE ON THE STREETS", schreibt Robert Koehler (Variety).
---Bilanzen---
"Halbzeit-Bilanz: Zu viel Altherrenkino (Haneke, Kiarostami), zu wenig Frisches. Beste Filme bisher: JAGTEN und PARADIES: LIEBE", findet Christian Jungen (NZZ).
Todd McCarthys bisheriger Favorit heißt wie bei so vielen AMOUR, aber er mochte auch MOONRISE KINGDOM, RUST & BONE und JAGTEN.
Karina Longworth gibt ihre Sicht der Dinge in einem Radio-Interview. So richtig-richtig begeistert ist sie noch von keinem Film, aber sie mochte sehr MOONRISE KINGDOM und LIKE SOMEONE IN LOVE.
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