[image-1]After all, we are often admitted into the interior life of Emma Rucci (Swinton), who fantasizes in shocks of swirling imagery and quick flashes of voices from her childhood. We see many of our characters at their most naked and vulnerable, and yet there is still a sense that they are holding back. The only exception is Eva (Diane Fleri), the eldest son's fiancée. Eva is just as isolated by the Ruccis as the audience is, and is often ignored at times when she should be the center of attention. She may be the only character the audience can understand, yet we see the least of her.
The primary focus of the film is Emma's extra-marital affair with her son's best friend, Antonio (Edoardo Gabbriellini). However, it's unclear whether this is in character for Emma, what it means to her marriage, and even what drew these two together in the first place. There's the overpowering sensation that if we could ever get a coherent sense of what the hell is going on in Emma's head, we would be enraptured.
[image-2]All that said, it's impossible to look away from the screen. A masterwork of cinematography, I Am Love (directed by Luca Guadagnino) frames every shot as if it were the most important in the film. The color and composition is stunning, especially with Swinton so keenly aware of how to move and position her body as a visual centerpiece.
The final scene of the film is a heavily-scored montage sequence that will leave audiences either feeling deeply moved or entirely underwhelmed. Unfortunately, I was in the second camp. Maybe if I'd cared about the characters a little more, I Am Love would've been more engaging.
[Editor's Note:I Am Love will open this Aug. 13 at the Tampa Theatre. For more reviews of the summer's hottest indies check out the Daily Loaf Movie Review Index.]
Tilda Swinton's appearance in a film tends to carry a connotation: The woman likes her films on the dark and uneasy side. So it's less than surprising when the opening credits of I Am Love fade away to winter and a massive Milanese household in the process of preparing a banquet.
The Rucci family is immediately alienating, and it's not because of their excessive wealth or family secrets. As a whole, these people and their problems are fairly run-of-the-mill. Instead, the film keeps us at a distance that makes us feel detached from the Ruccis — and I'm not sure that's intentional.
Since 1988, CL Tampa Bay has served as the free, independent voice of Tampa Bay, and we want to keep it that way.
Becoming a CL Tampa Bay Supporter for as little as $5 a month allows us to continue offering readers access to our coverage of local news, food, nightlife, events, and culture with no paywalls.
