Just an excerpt: Oscar Costume Design #5 : Guadagnino in fact pays homage to a great deal of '50s movies. See the shot of Emma/Tilda Swinton from the back with a chignon typical of Hitchcock, who had requested that Kim Novak's hairstyle in Vertigo made reference to the similarities between a tornado and sexual organs.Or the scene on the roof of the Duomo in Milan taken from Visconti's Rocco and his brothers . Inspired by I Am Love : Swinton's character starts off in easy, neutral pieces, almost in an effort to blend into the Italian scenery. As she begins an affair with her son's friend, Antonio, the color choices become more intense – bright tangerines and seductive reds – and as the film rounds out with a family tragedy, the colors reign back in towards ashen grays and black. It's a full spectrum color evolution which is kept subtle by simple,minimal shapes and classic tailoring. I Am Love Review : The director Guadagnino pieces this together in a dreamy, impressionistic way reminiscent of Visconti, particularly in his mixing of long shots and extreme close-ups. Yorick Le Saux's prowling camerawork in the scenes where Emma Spies on Antonio evokes the half-sickened, half-yearning mood of Dirk Bogarde's Von Aschenbach stalking Tadzio through the streets in Death in Venice. Marisa Berenson (another echo of Death in Venice) is superb as the faintly terrifying Recchi matriarch.s prowling camerawork in the scenes where Emma spies on Antonio evokes the half-sickened, half-yearning mood of Dirk Bogarde's Von Aschenbach stalking Tadzio through the streets in Death in Venice. Marisa Berenson (another echo of Death in Venice) is superb as the faintly terrifying Recchi matriarch.s prowling camerawork in the scenes where Emma spies on Antonio evokes the half-sickened, half-yearning mood of Dirk Bogarde's Von Aschenbach stalking Tadzio through the streets in Death in Venice. Marisa Berenson (another echo of Death in Venice) is superb as the faintly terrifying Recchi matriarch.
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