A bit like the classic Italian movies of the 60's. A bit like 'Damage'. Really shows its originality at the end. So much attention to detail. So many styles. I think the ending is polarizing, and for me it made the movie richer.
Though the italian cinematography and the soundtrack are incredible enough to make this movie memorable, I think I will remember it for Tilda Swinton effort to learn italian and russian just for the role of Emma. That ending was epic, but maybe a second watch will make me appreciate the whole movie a bit more.
Guadagnino's best film so far. Like Melissa P., Io sono l'amore is about the search for love and freedom. Guadagnino's film is built on the contrast between sensual nature and the aseptic world of the bourgeoisie: at the beginning, the two worlds are distinct; then, the more the passion increases, the more nature becomes the main character.
One of the most stylish and melodramatic movies I've seen in recent years.
I enjoyed a lot the work of Tilda Swinton as a leading actress, and this really put her on the map for me.
The photography is breathtaking and it works as an amazing postcard of Italy!
Like a Ferrari towing a yacht, I Am Love is luxurious but lugubrious and absurd. It wants to be a melodrama, but it also knows that the word has become a slur lately, so it tries to split the difference between opera and glacial Euro-art drama. Swinton is great, because she's Tilda F&@!ing Swinton, but this borders on the interminable.
A cinema for the senses, Guadagnino lived up to my expectations with this intense, gloriously cinematic, intimate movie. Its a rare pleasure to watch films like Io Sono Amore nowadays, where so much love is given to a gorgeous production that nevertheless still manages to bring exciting and passionate topics to the table. Worth the wait.
UM SONHO DE AMOR é uma grande festa na tela e uma verdadeira festa para os sentidos… Um filme magnífico com estilo vibrante e irreverente que luminosamente se articula pela paixão e restrição. Swinton novamente encabeça o elenco com um desempenho impressionante. É a musa central de um conto sobre o sorteio irresistível da paixão proibida e da vitória agridoce da liberdade/constrição da riqueza e poder.
On a second viewing, I am still unconvinced. Stylish, but vacuous and irritatingly self-indulgent. And I just realized that a small Danish film The Inheritance (Arven, 2003), covers the same territory in a much more convincing way. Sans the orgasmic food...