I am Love

You can tell from the poster, Io Sono l'Amore (I am Love) is not a generic Hollywood film, even the opening credits harken back to classic European cinematography, which should serve as a warning to those hoping to see a a love-story. Tilda Swinton dethrones herself from forever being seen as the White Witch in the Narnia films and steps into the fall of the haute bourgeois at the hands of passion, and unrestricted love. This is a gracious film, while many may compliment it by crowning it a 'beautiful film’; the director unselfishly provides a fantastic and raw story, complete with a cast of complicated and real characters. While not always easy to watch, the film - as cinema - is near perfection, if you consider yourself a fan of cinema, especially European cinema, this is a film you should not miss.

On the surface, you could simply say the plot centers on Emma (Swinton) and her affair with her son's friend Antonio (the confusingly sexy Edoardo Gabbriellini). If you want to push deeper, as Swinton herself has spoke of many times, the film may read as an allegory to capitalism, and the self-destruction behind those that have too much wealth and not enough love. I prefer to see this film as a far more moving family portrait. Edoardo Sr (Gabriele Ferzetti), patriarch of the Recchi family even announces: "Our family fortune, is built on unity." This is exactly what the film begins with; a family built on unity, structured and together. With the undercurrents of unhappiness are all but apparent, it is not until Emma begins to have what appears to be a hedonistic affair with Antonio's cooking. Her curiosity begins with fascination, her lust with a single bite. While the rest of the family begins to unravel, Emma becomes helpless in love, helpless in loss - helpless in life.

An argument for true auteurism, this film does not tell you everything; you leave the theatre still contemplating the lives of the characters - a gift that can only be attributed to the Writer/Director Luca Guadagnino. Emma's identity itself is only a creation of her husband, as she is just as much a product as the industry her husband's factory creates, and finally 'Emma' is reduced to what she began as - not existing.

There are so many scenes in this film that are touching, shocking or moving – juxtaposed with great silences and quiet movements of snow crunching or heels clipping hardwood floors. The entire film is a visceral feast for the senses; poetic, clever and stunning, one of the best films this year has provided.