Doubling reality
Is it possible that a copy can be better than original? Probably the answer to the naked eye can be easy, especially if we speak of art as it begins "were certified copy" by focusing the argument. But the truth is we live in a turbulent world in which emotional states become more important than ever and where reality and fiction overlap and double as the original copy and art, so sometimes answer that initial question does not involve a simple exercise, and yes instead a moral dilemma and second intellectual.
Abbas Kiarostami is a master at exposing the focus of public miseries and misfortunes of the human soul, and give a confused but pragmatic category of transcendence. "The Taste of Cherry" assumed its definitive breakthrough as a filmmaker, but as essential titles like "Where is the house of my friend?" Or "The Wind Will Carry Us" certifying him as a director of the new wave paradigm Iranian and a cinema intimate and committed man like few others.
His first foray into western cinema could not have been brighter. Without losing sight of its characteristic at any time movies, we present in this occasion a game repairs, a journey that will lead to the transposition of the words and characters with the ghost of the paradox at the heart consensus. Kiarostami has fun, but equally is tested and checking on the ability of the viewer to assume a cumbersome but also enjoyable. A trap perfectly designed and equipped to build a story that seems far from lacking head and tail is a perfect structural building ideas, feelings and emotions which diverge in many ways and options, creating a wonderful web of imaginative and fun.
In a way we can talk about an attempt to find the essence and substance of relationships at various levels and ages , taking in this sense a slight autobiographical path and making the film at some stage in a detailed study of the different situations that you face a continued cohabitation , and makes the most original way, through the transfiguration of complex and dynamic characters. To do this, Kiarostami break-necessarily-with its commendable attitude to work with non-actors to have this time with Juliette Binoche as a key piece and extraordinary result, and William Shimell as valuable and successful partner "arms".
With the unbeatable Tuscan travels within the film (as Richard Linklater hiciese with "Before Sunset in Paris) in a slow but intense through some scenarios in a conversational enviable pleasant, entertaining and thoughtful course, there an intermediate point where the film will take different paths. An abrupt change at all, and yes very consistent with all previously created the climate and that can be monitored in the clear natural complexity in which we find ourselves. Abbas Kiarostami
signing a magnificent film, "I'll love you forever" as a reference Rossellini unavoidable, or the magic of the transposition of characters from the films of David Lynch as "Lost Highway" or especially "Mulholland Drive" as the key to tell the story differently than usual, but always with a sharp stamp author, and an enviable talent to develop a history a priori conventional and slow, in a marvel of narrative structure, dramatic and emotional.
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Cinebulosa 
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