Village Voice by Scott Foundas

The movie's sense of immutable desire resonates well after the lights have come up.

The New York Times by A.O. Scott

Every shot — everything you see, and everything you don’t — imparts a disturbing and thrilling sense of discovery.

The Telegraph by Robbie Collin

Like Someone in Love, is another miracle at close quarters. Its subject is the impossibility of intimacy in the modern world: chewy stuff, to be sure, but Kiarostami explores it with a depth and delicacy that recalls the Japanese master Yasujiro Ozu.

Los Angeles Times by Sheri Linden

From moment to moment the low-key intrigue threatens to slip into Hitchcock territory; when it does, it's not in the form of high-wire suspense but in a burst of understated playfulness.

Wall Street Journal by Joe Morgenstern

The greatest fascination is watching these three people when they're planted firmly inside the frame, talking at cross-purposes while trying to perceive one another in the reflected light of their needs and risky assumptions.

Austin Chronicle by Leah Churner

The characters’ painful inability to connect only endears them to us, and somehow the film seems, like any human object of our affection might, more vivid and more knowable in its absence.

New York Post by Farran Smith Nehme

If Like Someone in Love frustrates, it also has ineffable grace in the framing of Kiarostami’s long, languid shots, the changes he captures in the light, and the way the actors’ smallest movements become fascinating. This enigmatic study of identities built on social deceit offers more than easy answers ever could.

Chicago Sun-Times by Steven Boone

The film's craziest, most easily mocked character emerges as the one most fully alive. Old Kiarostami, master of paradoxes, is set in his ways, but his ways are never set.

Chicago Tribune by Michael Phillips

It's also gorgeously acted by all, and while this may not be one of Kiarostami's finest, the craftsmanship nonetheless is so high, it makes everything else currently in theaters look slovenly.

Boston Globe by Ty Burr

The new film is slender, and it plays obliquely with the style of the 20th-century Japanese master Yasujiro Ozu: simple shots of simple people revealing universal truths.

Entertainment Weekly by Owen Gleiberman

The movie is playful and makes no easy moral judgments.

IndieWire by Eric Kohn

While not his best work, Like Someone in Love is a nimble expression of Kiarostami's appeal: He remains one of the few directors capable of pulling you into a narrative and making you question its motives at every turn.

The A.V. Club by Noel Murray

Is this the stuff of gripping drama? Not at all. But like nearly all of Kiarostami’s films, it’s the stuff of good conversation.

Slant Magazine

Plays out as a city-mouse rejoinder to the rustic, open-air daydream of Certified Copy, a snarl of thorny free jazz to that film's graceful aria.

The Hollywood Reporter

The film constantly toys with the expectations of both its characters and the audience, transforming a classic three-way tale of mistaken identities into something much more mysterious and troubling.

Variety

As it turns out, it's the first, not the last, word of the title that's key to this droll, elegant but faintly trying study in emotional artifice.

The Playlist by Kevin Jagernauth

There is a fine line between meeting an audience halfway and witholding enough without falling into self-indulgence, but Kiarostami can't make that balance here. Enigmatic and dull to a maddening degree, Like Someone In Love finds Kiarostami spinning his wheels.

Time Out by Joshua Rothkopf

The director has made disappointing films before — a more generous word might be transitional — but never one so slight.

The Guardian by Peter Bradshaw

It is a beautifully shot, and very nicely acted beginning to something: but finally frustrating.