“Like Someone in Love”, the 2012 Cannes Palme d’Or nominated film directed by Abbas Kiarostami, is trying to express the quite similar thought as Tsai Ming-liang’s “Vive L’Amour”: That no one was able to achieve the real love in the so-called “emotional relationship”. Tsai showed this idea with the entangled struggle within one woman and two men in a roomspace which belonged to none of them. And so did Abbas, however he was emphasizing on both the disparity and difference to characterize the deceptive and lamentable “owned/ownership” during the film-making.
“Film begins with DW Griffith and ends with Abbas Kiarostami”, as once Jean Luc Godard had defined. Abbas Kiarostami is succeed to cancel the separating boundary between the film art and the real life. The normal daily-routines with nothing extraordinary are repesented vividly in all of his films, but he manages dealing this kind of mundane things with his outstanding intelligent. The expanse and depth of thinking are retained for the viewers through his ingenious arrangement back to basics completely.
*The film criticism was written by Simplified Chinese at first (which is my mother tongue), then I translated into English for your reading convenience. And down there is the original version.
阿巴斯的近作《如沐爱河》在一定程度上与蔡明亮的《爱情万岁》所要传达的是非常相似的思考：在所谓的情感关系中，其实并没有人能够获得真正的爱情。蔡明亮用两男一女在不属于他们中任何人的空间中纠缠不休来表现；而阿巴斯也是类似，然而他将差距感与差异性作为了主旨来刻画这虚幻可笑的占有与被占有。
戈达尔曾经如此评述到：“电影开始于格里菲斯，结束于基亚罗斯塔米”，阿巴斯把原本横亘在电影艺术与现实生活之间的分界线彻底抹去了。在他的电影中所表现的是近乎平凡的日常生活即景，然而他却用智慧去处理这些极易被忽略的场面，通过其返璞归真的编排处理，从而将思考的空间与深度完全保留给了观者。
A×R×T 