Whenever a movie encounters Tilda Swinton (Tilda Swinton), even if the script itself is gentle, it will be full of firepower due to the appearance of this mysterious face. Only this screen goddess can perform the sharp sense of red iron wrapped in white calfskin at a glance. If Grace Kelly is described by Hitchcock as a "volcano covered in snow", then Swindon can be described as starring in this Italian film called Io sono l'amore (Io sono l'amore) For the white witch in a blood red cocktail dress.
The opening of "I Am Love" was very cold. At the beginning of this century, Milan, a Mussolini-era mansion covered in ice and snow, the style of Italian melodrama in the 1950s slowly introduced the credits, and it was old-fashioned. In the dignity, launched the Milan textile giant: the Lekki family. The hostess Emma is busy for the birthday party of the father-in-law of King Lear in the clothing industry. The neat and rigorous Jil Sander sweater and light-colored trousers maintain the order of the family efficiently and carefully. The floating eyes and smiles are hard to conceal It is alienated from the true face of the bystander. Accompanied by the tense quick walks of the song named "Chairman's Dance" in the opera "Nixon in China", a certain depressive, strong, and eager atmosphere of the mountains and rain, directed at the strict socialization of the middle and upper classes The pomp, interspersed with needles.
Emma was originally the daughter of a Russian art dealer. The son of a textile giant married her and brought her to Italy and gave her the name Emma. Coming from imprisonment, she began to dream of a country of freedom and prosperity. Life: Allocating seats for the family banquet guests, shopping with her mother-in-law to relieve boredom, fetching dry cleaning clothes, and paying attention to the growth of her children is the whole meaning of her existence in this family. When she was given the name Emma, it also meant the loss of her identity. The next plot is quite satisfactory, as predicted. We guess that she will be anxious, misunderstood and introspect over the loss of her identity, and finally find salvation through explosive actions. Sure enough, she met her son's friend, a young chef named Anthony, at that birthday party. The first glance was meaningful. At first, it was only Nong Youqing Laiqing deliberately obscene, until she met the Orthodox Church that represented her past in San Remo, and when she was attracted by it and walked towards the church, she unexpectedly met Anthony, who represented the future. The scene of dry wood and raging fire was staged. Mirai stretched out her hand to hold the past, and the woman determined to jump out of the present that she was completely lost.
Emma’s revolutionary nature is different from the Italian prince’s wife in "Love in the Emerald". The average middle-aged lady, like the prince’s wife, will certainly dream of a young and impoverished man for a lifetime, but they confess. "I’m too lazy to marry now, only interested in sexual intercourse", and Emma has the courage to take off her dress, throw off her high heels, and put on a sports attire, barefoot, whistling with her fellow Anna Karenina. The breath, under the gaze of the family, rushed out of the Lakki Mansion. End of the play.
Of course, a family also bears a heavy price due to personal revolutionary choices. What about life after the revolution? For example, President Washington once said: "Declaring independence is one thing, but achieving independence is another thing." The film abruptly stops with Emma's departure, because the ending is not important, even the Anthony is not important. Anthony is not an end, he is just a means. The important thing is that Emma borrowed Anthony's natural youth and wildness to regain the courage to find the password to open the personal identity safe, and then met the dusty Russian girl in the corner of the safe, the old self.
The motif of women seeking freedom and release is not new, but "I Am Love" is still alive and well. This is entirely attributed to the interpretation of the British Swinton; the French Yorick Le Saux used a small literary method to shoot A great desire; the soundtrack of the American John Adams opera; not to mention the Belgian Raf Simons designed a complete set of Emma's wardrobe, allowing the dress and the heroine to have an extremely subtle dialogue time and time again. The seamless cooperation of this international team gave this contemporary story the breathtaking stage tension of classical opera. In Swinton's own words, "I Am Love" is "the drugged Wisconti".
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