"Legal Copy" is an attempt by Abbas to implement and transform. It explores the true and false of copy, the true and false of art, the true and false of life, and the true and false of film. In other words, Abbas used this film to make a more popular interpretation of his stylized creation than before. People who don't know Abbas must take this as a trilogy of love that is more eloquent, deeper, and even less interesting. This is wrong. The mistake is that it is not high-level, and the types are different. "Legal Copy" has been emphasizing the relationship between watching and being watched from beginning to end. The actors and actresses looked directly at the camera many times, and in a trance, they realized that they were just looking at "the couple outside the window" or "the self in the mirror" . In this way, the legal copy is also illustrating a problem: the movie is a copy of your life, and the actors are a copy of your individual audience. At the end of the film, the man came to the mirror and looked at himself seriously, stared at himself, checked his true identity and self-positioning, and then left. In the end, the woman's request was not granted. Stay, no, the nine o'clock journey still has to go on, and the bell of reality still has to ring. After the trance is suddenly, the copy life is over, the man looks directly at the mirror in front of the mirror: "Look at who I am", and also looks directly at the audience: "Look at who you are".
Abbas has been trying to break the screen, just like the last piece of "Like a River of Love" that finally came after two hours of silence, and at the end of "Legal Copy", he also tried to do a little trick. We see a mirror within a mirror, a picture frame within a picture frame. The main body of the male protagonist leaves and is replaced by the audience. There is no lack of the same construction in the posthumous work "24 Frames", and to a large extent these pictures are not shot for the audience. In addition to challenging the audience, Abbas's exotic style transplanted, transplanted his long-standing Iranian film tonality in multiple languages, and then spread it on the soil of Italy. So in this world, you can see Italy, but more France, and more, all of Europe. The same is true for the attempt of "Like a River in Love", but the sense of alienation is more straightforward and indifferent. Fortunately, it promotes the cultural background of the whole film like Japan's "cruel cherry blossoms". It is a pity that it is tasteless and discarded, but I have to admit that its style is transplanted enough local and delicate enough.
View more about Certified Copy reviews
