One of the best films i have seen

Although I seem to have had higher expectations than I thought, the movie is super entertaining.

A film of deceptively outspoken contemporary relevance, this is cinema at its most alert, alarming and alive.

The plot isn't so bad, but the pace of storytelling is too slow which makes people bored. Certain moments are so obvious and unnecessary for the main plot. I would've fast-forwarded those moments if it was an online streaming. The ending looks like implying a sequel, not sure if this movie will get one

Is it just me? OK so the husband deserves to be cheated on. He is neglecting his wife like all the rest of these movies. Somehow, the wife is cheating, as always because it's her husband fault. Somehow, like all the rest of these cheating wife movies, It's never the wife's fault for not expressing her dis-satisfaction of her life. It's never the wife's fault for not communicating what she is missing. Skipping the whole idiotic melodrama.In the end, this harlot, is not held accountable for causing the death of her son as he tries to pull away from her after he figured out, his mother, is having an affair with his partner of a restaurant and much younger man. A man as old as her son. The stupid movie ends with her telling her husband she loves the son's partner. The maid starts to pack her stuff. She leaves with nothing and you see her and her lover living happily ever after in a cave? Is this for real? Your time is not worth it.

Few countries make, nay, have the style statement that Italy embodies. A tourism paradise with scores of stunning locales inland and by the sea, magnificent old-world architecture, cool couture, luscious cuisine, luxury furniture and more... "I Am Love" by Luca Guadagnino is that rare achievement unites almost all these elite elements into an impossibly beautiful masterpiece.It focuses on a very wealthy family in Milan that has woven its riches from the textile industry. There is emotional turbulence in the very first sequence - a lost horse race which the family always previously won, and a surprise decision in a declaration of power transfer from one generation to another. The subversive influences, in an impressive array of forms, never stop from there onwards , taking apart the family in multiple ways. This exact same story could have been told by a lesser director in a fairly pedestrian way, but the story-teller here uses the high-end setting as a launching board, to wed everyday behaviour and feeling with an agile tendency to naturally sculpt and let soar scenes of hypnotic intensity and operatic grandeur. Guadagnino directs with such beauty and controlled flamboyance that even if I were charged not the usual $20 that is the price of a movie ticket but $400 that is the tariff for a high-profile opera (that 'I Am Love' effortlessly often simulates) I'd have left satiated at the end of the performance. Guadagnino aces the score on two invaluable fronts. He selects and inserts John Adams' orchestral compositions which were already cemented much before the film's idea was conceived, and five-star cinematography by Yorick Le Saux. Their dual magic, further elevated by the director's visionary wand, manifests in various showpiece sequences.When Emma, her glamorous, augustly catty mother-in-law Allegra and Edoardo's fiancée lunch in Antonio's restaurant, he sends out the best of his modernist cuisine flourishes for them. The way he synthesizes a gorgeous deconstructionist version of the 'Leghorn style Cod' is a joy to watch in itself. On tasting it, Emma gets the first frisson on what's to come. There's even a sneaky meaning in the main course for the senior lady (an egg yolk and pea cream dish that a man would probably scoff in one bite), a relatively mainstream "mixed fish and crunchy vegetable" for the pleasantly full-bodied fiancée. To Emma however, his presentation elides quantity (of which Emma has had no dearth of in her millionaire household) and focuses on profound pleasurable quality (which she may not have had enough of). Shrimp, of those intensely hued small Mediterranean ilk, and ratatouille (stewed vegetables) are placed in front of Emma. Her fingers holding the fork and knife attend to the task with gentle incredulous pleasure and on tasting the shrimp, her eyes close and her face and eyes slowly writhe... as though she's being caressed both inside and outside. The scene's natural pace slows down to join her in languorous ecstasy. Lights dim off elsewhere and create a soft spotlight around her whilst music carefully enhances intimacy and expansiveness in the background. Brad Bird would have approved. The scene is a key example of how cuisine (with a subtle consistent focus on seafood) is used throughout the movie as a device of subversion. After such a seduction, one wonders what the impossibly sated Emma can possibly do to fend off the flirtation... Perhaps the most bravura and executively challenging of the sequences, ensues as a pair of lovers, who couldn't sustain their togetherness on the plains, journey to sun-kissed hills where their love-making is illustrated with the eye of a top artist. John Adam's agile orchestra and panting violins are expertly calibrated to highlight the throes of bare lovers as they carnally celebrate. Imaging, in an inspired move, cuts between scenes of nature and the rapture of their bodies. Making love, has rarely if ever been touched upon with such a unreservedly intense yet deeply artistic vision.As the epicenter of this movie's flux, Emma as portrayed by Tilda Swinton is a landmark example of atypical casting. In a superbly understated performance , there is vulnerability, a genuinely tender heart and innate grace in her layered portrayal. As the middle-aged mistress of the house who was transplanted decades ago to this very rich family, Emma remains polite, sincere and down-to-earth, gaining trust and acceptance of its insiders. The opening sequence is a splendid summation of her temperament. Though she is the queen of the mansion, she calmly and keenly attends to the planning of the momentous family dinner thus showing her commitment to the nitty gritties. At the dinner when her father-in-law (who is fond of her) makes a good natured jab at his grand-son,she looks at her ward with a special blended expression of amusement and sympathy that does not go overboard. To mollify her daughter for whom the rest of the family also claps in sympathetic encouragement, she holds and kisses her and then with delicacy and feeling utters some words inaudible to us, in a fashion uncannily similar to how the "royals" make seemingly involved small-talk with the ballboys-'n'-girls in Wimbledon pre-match ceremonies. Towards the end when grieving Emma, her formal gown unchanged, slumps into bed in a small spartan room set away from the rest of the grand house, and Ida wakes her up next morning with a gentle 'You have to get up' and Emma slowly awakens with a beleaguered face, throughout this ordeal there is never any forceful sorrow displayed yet it is easy to sense the deep ache in her bones and soul.Technically, the film proudly establishes entry into the international textbook of how to make a film. And on a personal level, lo Sono L'Amore will last as an elegant anatomic detailing of that invisible weapon of mass destruction called love. More such @ Upnworld

We keep talking about a human condition that films should aspire to embrace and yet how hollow rings one that only uses words to declare love or suffering. No we forget that all these abstractions are rooted in the here and now of perception as it opens up a world for us. It's above all a perceptive condition behind all the things we cherish, we see this when we try to invoke them again in memory; it's the presence of indelible moment that stays with us, the atmosphere that dilates a room.And this is what I see here, a film about love that resolves spatially, that pushes up all those things that stir the soul and recalls them visually before the eyes, makes glances and gestures out of them. Kar Wai Wong fans will be in heaven.A rich woman falls for the cook friend of her son's who occasionally prepares the fancy meals they enjoy upstairs. She is married, it is a new love that takes the breath away and colors everything. The quest for the filmmaker is to acquire this color in as breathtaking ways as possible.In simple ways often. Her apple red dress as she feels sexual for the first time in ages is a small flourish, but the flowery streets of Sanremo as the feel blossoms give some of the most marvelous spring moods I've seen. There is some ambiguity in the early stages. Did they really kiss or is the kiss wistfully yearned for in her mind? But of course they have and this is all to dilate that cherished memory, show how it spills over from that physical moment to saturate the fabric of life after. We all inhabit feelings in echoes we send out ahead of us and this too, this in particular, is the life films must bring to sight, those that aspire to deep humanity.We get of course codas of how unchecked desire can lead to catastrophe. But the love scene glimpsed before follows shots of insects and plants, showing it to be a natural urge. Her orgasm as branches of trees shuddering in the wind. A lot here is operatic, which has led some to dismiss as gold foil wrapping, empty. The film is set in Milan after all, city of fabrics and opera. It is unmistakably Italian, all about supple sculpting and elegance of form. Medem, even Kusturica in his day, made similar things with a richer confluence of narrative threads, this is occasionally merely luscious.But it is above all about a love that surprises and rends the air with confusion, not just scenery for melodrama; this is what we have so marvelously when early on the woman discovers a written confession (by the daughter) inside a CD, an urge that flies through life and can catch you unawares when you least expect it.We'll have to go to more erudite makers to see how these urges and the form they take arise and subside again, that we're not simply bound to the tide of emotions. Release here is offered as following your urge rather than escaping from its bonds. But we do see how urge rends life like a breeze of air blows through fabrics, with the capacity to remind again of life's capacity to sway and ripple. And how the pursuit of something that colors life with newfound urgency leaves an indelible presence, which is what having lived a life is about in the end. How apt that post- coitus in the small cottage would be cinematically condensed to an open window that looks out to bright day? It's moments like these that define memory and love and let us recall everything else.

The ever-versatile Tilda Swinton stars as a Russian-born Italian in Luca Guadagnino's film 'I am Love', which is beautifully filmed, well-observed and acted with a nice sense of understatement. Yet this tale of a wealthy family suffers somewhat from the basic irrelevance of its drama. Being happy is a challenge for everyone, even for the rich, but a story where the characters are essentially free to choose their own lives can feel slight, and although part of the point here is that the individuals concerned are prisoners of their own privilege, the point is made without any satirical venom - the tears of the servant, crying over the departure of her mistress at the end of the film, are shown without irony. Although there are details to enjoy here, I found it hard to sympathise with any of the characters over any of the others. It's not a bad film, but a social dimension to match its emotional one might have added to its impact.