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Like Someone in Love (2012)

6.9
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Ratings: 6.9/10 from 5,162 users   Metascore: 76/100
Reviews: 29 user | 155 critic | 31 from Metacritic.com

In Tokyo, a young prostitute develops an unexpected connection with a widower over a period of two days.

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Cast

Cast overview:
...
Takashi Watanabe
...
Akiko
...
Noriaki
Denden ...
Hiroshi
Reiko Mori ...
Nagisa
Kaneko Kubota ...
Akiko's grandmother
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Storyline

In Tokyo, a young prostitute develops an unexpected connection with a widower over a period of two days.

Plot Summary | Add Synopsis

Genres:

Drama

Certificate:

Not Rated | See all certifications »
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Details

Country:

|

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Release Date:

15 September 2012 (Japan)  »

Also Known As:

Ez is szerelem?  »

Filming Locations:

 »

Box Office

Opening Weekend:

$21,813 (USA) (15 February 2013)

Gross:

$221,390 (USA) (19 April 2013)
 »

Company Credits

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,  »
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Aspect Ratio:

1.66 : 1
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Did You Know?

Trivia

The film had the production title The End which was also the initial name of the movie. See more »

Quotes

Noriaki: [subtitled version] If we're married, she has to answer me.
Takashi: Ideally, yes. That's why I'm saying you lack experience.
See more »

Connections

Featured in At the Movies: Cannes Film Festival 2012 (2012) See more »

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User Reviews

Loneliness, Hunger
24 October 2014 | by See all my reviews

Following "Copie conforme" (2011), Kiarostami continues to travel the world, and this time he finds his film from the relationship between a student who also works as an escort and a widower in Tokyo.

I think the essentials of his cinema should be clear by now, no matter which film has been the door to his art: life and reality as a form of fiction, art as life, love as art, death as the long journey from the anteroom of life, as in "Bad ma ra khadad bord" ('The Wind Will Carry Us', 1999), beyond the rolling credits. Yet his films are not pessimistic or cold, but rather celebrate life in the smallest moments, and this humanity transforms all the narrative opulence into life-affirming art.

Kiarostami's gift is that he's able to make us unsure of our footing, of where or who we are, or who the characters we see are, and where they're going. He does it with such slyness it's as natural as breathing. We see not much happening, but somehow we have that ever- intensifying feeling that behind the curtain something grand is slowly taking shape, the pieces of the universe are falling into place and soon the cosmos will reveal itself unto us. In modern literature it's Murakami Haruki who's closest to this kind of fantastical realism that Kiarostami not only employs as a kind of means, but breathes and gives a name to; not a mirror but a window, not the cloud but the sky.

Indeed, the film is very much like the rest of Kiarostami that I have seen: the surface is calm, lingering, leisurely, yet beneath the surface there's another world entire, fierce and full of dark brooding. It's them, it's us. Loneliness, hunger. Warmth, comedy. The wheel turns. To some extent this film pairs well not only with the apparent sibling "Copie conforme" but with "Amour" (2012), too. Both have at their core a relationship amid death and old age, an awakening, and the urge for human connection; both films are masterful poems of the cinematic flow of images and rhythm. I'd also search for "Bin-jip" (2004), which shares the broken heart, bruised by domestic violence, and the hopeful heart that sees the door, ajar ever as imperceptibly, and the rush of blood to the head as one realizes all the possibilities.

And then, as always, there's the "although" and the "but," and all that comes with it.


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