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Abbas Kiarostami's LIKE SOMEONE IN LOVE (2012)

As a Valentine’s Day counter-program, we present Iranian master Abbas Kiarostami's swan song: an elliptical study of identity and one of the most beguiling recent films about love.

Abbas Kiarostami's LIKE SOMEONE IN LOVE (2012)
Abbas Kiarostami's LIKE SOMEONE IN LOVE (2012)


Feb 14, 2024, 8:00 PM

2220 Arts + Archives, 2220 Beverly Blvd, Los Angeles, CA 90057, USA



directed by Abbas Kiarostami

2012, 109m, Japan, DCP

As a gesture of Valentine’s Day counterprogramming, we present one of the most beguiling films about love, and one of our favorite films of the 21st century. Iranian master Abbas Kiarostami’s swan song, filmed in Japan, is an elliptical study of identity, featuring the filmmaker’s typically acute presentation of moral issues and personal crises, and unerring command of film language. A Japanese student moonlighting as a sex worker (Rin Takanashi) finds herself on the run from a jealous boyfriend (Ryô Kase) and into the care of an elderly client (Tadashi Okuno), with whom she creates an unlikely bond. Over time, each of these lonesome city dwellers appear to be avoiding confrontation; but to what end? With its serene, Ozu-like precision and layered characterizations, Like Someone in Love is a film full of questions, not answers. Amid its scenes of long drives and shifting personas, it is a masterwork of soft tension – a temporary balm for our troubled world.

“It’s better to say that we are like someone in love rather than asserting that we are in love. Death or birth are definitive; love is nothing but an illusion. We have in this film four people who are like some people in love.” -Abbas Kiarostami

“The best not-Christmas-Christmas movie is Kiarostami’s Like Someone In Love. It’s got it all: a bad boyfriend, an escort, an old man, jazz, alienation, incredible car shots, miscommunication, and lonesomeness pierced only by half-embarrassed attempts at generosity of the spirit.” -Blair McClendon

“Formally meticulous and surprisingly powerful… The structure of the film is, by Mr. Kiarostami’s standards, fairly straightforward, even conventional… And yet every shot — everything you see, and everything you don’t — imparts a disturbing and thrilling sense of discovery.” -A.O. Scott, The New York Times


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