Like Someone in Love Page #2

Synopsis: Like Someone in Love I is a Japanese-language film directed by Iranian director Abbas Kiarostami. It has been selected to be screened in the main competition section at the 2012 Cannes Film Festival. Written by Abbas Kiarostami.
Genre: Drama
Director(s): Abbas Kiarostami
Production: IFC
  1 win & 5 nominations.
 
IMDB:
7.0
Metacritic:
76
Rotten Tomatoes:
83%
NOT RATED
Year:
2012
109 min
$144,289
Website
675 Views


I've already bought

the return ticket.

I will leave tonight 11.

I left your grandpa by himself

and I must come back.

I will call you again.

Second message.

12 of the month at 10:42.

Ki, my dear,

I arrived in Tokyo.

I will wait for you in the bench

close to gate 5.

You will find me easily.

I'm calling you from a booth

close to the bench.

The is a man here

who plays the accordion.

You will hear him

as soon as you enter the station.

I would really like

to go have lunch together, my dear.

Third message.

12 of the month at 14:03.

Ki, my dear, it's 2 o'clock.

I'm calling you from a restaurant.

I left the station

to go eat some noodles.

It only has cafeterias inside.

I felt like eating soup.

I would have like to lunch together.

The restaurant is

in front of the station.

Come to find me whenever you can.

Otherwise as soon as I finish

I will go back to gate 5.

I will wait for you in the bench.

I hope to see you, my dear Ki.

Fourth message.

12 of the month at 14:42.

Yes, Ki? I took your book.

Fifth message.

12 of the month at 16:01.

Do you miss Matsuda, Akiko?

I calling you from the bank...

Sixth message.

12 of the month at 16:18.

Yes?

I returned to the station.

In the booth they have put up

a photograph.

The girl looks a lot like you.

She looks like you but she doesn't.

She closes her eyes and smiles.

I called the number

under the photograph.

A man answered,

rather rude.

I will call you, then,

to this number.

I will tell you.

Nagisa's mother...

gave me your number.

She is very worried about her daughter.

Me, on the contrary, I'm not.

I know that my Ki

is smart and sensible.

I'm sure that

you don't do stupid things.

The is here

another photograph.

This one looks like Nagisa...

but with red hair.

I can't be her.

Miku married.

And Mitsuko, Etsuku

and Yuko. I have so much to tell you.

It's 4 o'clock.

I have so many things to tell you,

my dear Ki.

Seventh message.

12 of the month 21:48.

It's almost 10. I imagine

I won't see you finally.

I'm close to the station.

I will take the train at 11.

I will spend this hour

waiting for you...

under the statue.

Maybe you received my messages.

I will seat here

so you can easily see me.

End of new messages.

Excuse me.

Are we far away from the station?

No, it's nearby.

Can we pass through there?

Could we drive around it again?

Of course.

Welcome.

Excuse me.

I'm looking for

door number 3771.

It's supposed to be here.

- Here is the address.

- Call the number on it.

They don't answer.

Sir...

I called but they

didn't pick up.

She slept all the way from Tokyo.

You have reached the voicemail.

You may also send a fax.

Hello?

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Abbas Kiarostami

Abbas Kiarostami (Persian: عباس کیارستمی‎ [ʔæbˌbɒːs kijɒːɾostæˈmi] ( listen); 22 June 1940 – 4 July 2016) was an Iranian film director, screenwriter, poet, photographer and film producer. An active film-maker from 1970, Kiarostami had been involved in over forty films, including shorts and documentaries. Kiarostami attained critical acclaim for directing the Koker trilogy (1987–94), Close-Up (1990), Taste of Cherry (1997) – which was awarded the Palme d'Or at the Cannes Film Festival that year – and The Wind Will Carry Us (1999). In his later works, Certified Copy (2010) and Like Someone in Love (2012), he filmed for the first time outside Iran: in Italy and Japan, respectively. Kiarostami had worked extensively as a screenwriter, film editor, art director and producer and had designed credit titles and publicity material. He was also a poet, photographer, painter, illustrator, and graphic designer. He was part of a generation of filmmakers in the Iranian New Wave, a Persian cinema movement that started in the late 1960s and includes pioneering directors such as Bahram Beyzai, Nasser Taghvai, Ali Hatami, Masoud Kimiai, Dariush Mehrjui, Sohrab Shahid Saless and Parviz Kimiavi. These filmmakers share many common techniques including the use of poetic dialogue and allegorical storytelling dealing with political and philosophical issues.Kiarostami had a reputation for using child protagonists, for documentary-style narrative films, for stories that take place in rural villages, and for conversations that unfold inside cars, using stationary mounted cameras. He is also known for his use of Persian poetry in the dialogue, titles, and themes of his films. Kiarostami's films contain a notable degree of ambiguity, an unusual mixture of simplicity and complexity, and often a mix of fictional and documentary elements. The concepts of change and continuity, in addition to the themes of life and death, play a major role in Kiarostami's works. more…

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Submitted on August 05, 2018

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