You can make a fitting parallel between a sex scene very sensual, bright and the bees that pollinate the flowers? You may play as an actor experimental Italian Pippo Del Bono role of a petty bourgeois expressionless viscontiana sacrificing strength? You can talk to Tilda Swinton in Russian and Italian and then not make it express the feeling of her character? These and other rambling anguish copyrights are the last film by Luca Guadagnino. E 'released on DVD this month, but we reviewers dangerous we allowed ourselves to explore the theatrical release of American andandone Boston on site to assess the public acceptance. The result is that there seems unfair to American viewers believe that the new Italian cinema is one of the stories where finally laugh in disbelief exclaim "what's ...?", that is to say," And then ... and So what? ". Disgusting was the most common word leaving the cinema. Yes, because he is a director of assumptions made, dear Guadagnino: Pasolini because if that is not framed from behind the Christ in his Gospel at all times of the scene, then you must do the same in your movie! An Alba Rohrwacher that does nothing but cry, but good. A Tilda Swinton superb producer but sperperona. I AM LOVE - I AM THE LOVE guesses in the middle of the Milanese bourgeoisie but fails to capture the favor of the spectator, much less demanding than the American, who giggles all the time of the vision and then snickering to the final too full of symbols and interpretations: is absent in the film is also an evolution of the gestures of the characters. That sometimes be described with just a beat, even in the most difficult films. There is the beautiful wife that is used as a collector's item, is the daughter who disobeys the will of his grandfather to study photography and to fall in love with a woman. There is a child who is the only one, apart from her sister, who sees his mother while respecting their history but in the end he remains embroiled in its role as fact and fiction of sexist cliché. There is the friend of her son, a cook, which represents the strength of the work on which rest the high bourgeois capitalists without disrespect. A man carrying a gift the fruit of his labor and his genius. The woman who is at the heart of the whole affair breaks the mold and is allowed to return to sensuality and passion of living his real life.
The story purports to give the dramatic force of a Greek or Shakespearean tragedy, but the point is that the director depicts the final perhaps much better than a boring start. And in the cinema even the feeling of boredom (in this case that the days of a wealthy family) should be told.
rating 5 / 10
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