Is it real or is it fake is the intriguing central theme that runs throughout elegant art-house film Certified Copy (hence the title), starring the ever-talented and beautiful Juliette Binoche. The power of Iranian director Abbas Kiarostamis latest, more commercial offering than late is in the skilled direction that requires a certain patience to allow it to breathe and develop because where it goes is anyones guess.

However, the films surprising impact is not instantly apparent it grows on you. Its the smaller, almost subliminal occurrences in the film that gradually pricks the interest and capture the imagination.

What begins as stranger infatuation (bordering on fan stalking), leading to play acting on a Tuscany day trip, turning into more harrowing circumstances, could actually be something more substantial and authentic as the couple played by La Binoche and acting newcomer, renown opera singer William Shimell as author James Miller gradually begin to play out. As with the art and its fakes, is their relationship real or a copy of the genuine versions that surround them? Are we all, in fact, play acting in our relationships, whatever stage they may be at, wanting to please the other?

Whilst the couples easy, almost awkward conversation turns into passionate debate about the authenticity of the culture surrounding them, their discussions are visually represented by mirror images at any one moment even capturing a pensive look at the other in a mirror reflection, suggesting the films constant questioning and search for what is real and what is a copy?

Without giving too much of the somewhat linear plot away, the catalyst is the multilingual repertoire between Binoche and Shimell that moves between Italian, English and French, coupled with the absorbing silent and reflective pauses. In fact the ending does little to satisfy curiosity as to who the couple actually is, or answer the mounting questions, merely flagging up further debate on the whole meaning of what you are witnessing.

If this is Kiarostamis aim, it seems to work successfully. However, what is clear to see is why Binoche won Best Actress award at Cannes this year as her emotive performance draws on all of her impressive talents that go to enhance Shimells fledgling ones the latter holding his own against such an acting heavy weight. In fact Shimell is a solid equal on the performance stakes, a natural for such an intellectual affair. Indeed because of such fine acting, both exude an intoxicating sexuality that quietly simmers throughout, emphasised by Binoches flirtatious character that complements Millers obstinate one, hence, building the rocky foundations for what is to become.

Certified Copy does require a certain (time) investment in its subject matter, which is not only what is discussed on a surface level (art and its authenticity), but also what is not discussed at all. It desires an open, subjective perspective that may not capture the attention of the average cinemagoer, making it difficult to market – with or without the Binoche headline.

However, the film and its stellar cast will gain respect for its fine direction and it creates a welcome breath of fresh air at the box office, too. Certified Copy will be remembered not only for Binoche, but also for trying to avoid being labelled at any cost. Simply categorising it as emotional art house is actually a lazy and dismissive way of tackling its many important themes.