Copie conforme

Kiarostami | 2010 | France, Italy

2nd watch. I don’t have notes from my first watch and so l don’t remember if I was initially as struck by the role that literal reflections play in the story (see above for a good example). It’s all part of a delightfully playful conceit that I can see myself interpreting differently every five years or so when I dip in for a rewatch. Like any good philosophical meta commentary on art, it leverages the viewer’s solipsism (and I’ve used this phrasing quite deliberately to distance myself from the argument) to make them feel as if all art is for and about them. Which, of course, it is.