Tilda Swinton's Film "I Am Love": A Review

Tonight we saw the Tilda Swinton-produced film Io Sono L'Amore. We loved it and spent the drive to the restaurant, the dinner, and the drive back discussing it. Let me start by first pointing out that this is not a film that may be quickly watched, filed somewhere, and consequently forgotten. It tends to have the kind of effect that a truly rich tiramisu has: it'll unequivocally beg for attention from all of your senses and organs post-consumption. The film is steeped in literary traditions stemming from Sophocles while contemporaneously being bathed in rich visual imagery.

At the core of the film lies the deeply intimate relationship between Emma and her son who adores her completely, Edoardo. To be able to truly decode this beautiful relationship one needs to be able to truly get the relationship between Jocasta and Oedipus. This film offers a kind of visual feast that is truly overpowering to the senses. From the bold colors of Swinton's wardrobe to the gorgeous architecture and arts that the city of Milan has to offer, the list of aesthetic contributions goes on and on.

This film varies from others when it comes to the candid way in which it deals with familial dynamics, sibling rivalry, the discussion of a love lost between two long-term spouses, gender and identity, birthing one's self anew, attaching to new love, marriage, art appropriation and ownership, et al. Ah, and, naturalmente, there is the theme of the importance of the culinary arts and how they epitomize such basic human drives as sensuality, instinct, the pampering of one's taste buds and so forth.

In sum, did I like this film? Absolutely. I felt the way I tend to feel when at the Seattle Art Museum. Well fed. And if you love Europe and linguistic diversity, this film will most certainly not disappoint.
Brava, Tilda, brava!

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Film List from '04

I was surprised the other day when Benjamin, after a four-hour conversation, told me the following, "So, remember that list of indie films you shared with me a while back, like, back in 2004? Well, I just got done with it." Now, I know he's thorough as thoroughness is one of his qualities I appreciate most. This, however, was impressively thorough as well as an exercise in tenacity.

I was surprised that he still remembered something we had discussed plenty of times back when I was in grad school and he in Law School. I guess all the years of reading left little time for indie film-viewing. Then, while talking, he said he'd forwarded the same email I had sent to him years ago. "Wait, you have emails from years ago? You, email hoarder, I say." "No," he says, "but I do keep all recommendations."

It was sort of odd to read an email I'd written years ago. I seemed to have employed little 'economy of speech' then. Folly of youth.

I thought I'd post the same list here in case you'd like to consult it. I am glad to see I had some cinematic sense back then.

1) Alejando Amembar's "Abre los Ojos."
2) Nanni Moretti's "La stanza del figlio" Written and directed by
Nanni Moretti.
3) Tom Tykwer's "Lola rennt."
4) "Laurel Canyon" with Frances McDormand
5) Curtis Hanson's "Wonder Boys." With Frances McDormand
6) Darren Aronofsky's "Pi."
7) Pedro Almodovar's "Hable con ella"
8) "Belle Epoque"
9) "Almost Famous"
10) 1998's "Great Expectations"
11)"Sylvia"
12) Jean Pierre Jeunte's "Amelie"
13) "Italian for Beginners"
14) 1992's "Michelangelo"

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Inglourious Basterds: Well Worth the Praise

I'm the kind of cinephile who is more likely to view a Wim Wenders film multiple times than go, by my own volition, to a Tarantino film. In my circle, there is a joke that started back in '02 when I suppose I was heard quoting a Tarantino interview as featured on a German newspaper. "Die Leute gehen ins Kino, um die Stars zu sehen" meaning: "People go to the movies to see the stars." I was never that kind of moviegoer. It's not the stars that entice my moviegoing. Not in the least. So, this would be a fundamental aesthetic difference between someone like me and the kind of audience that Tarantino envisions for himself.

Now, I've gone to Tarantino films, of course. The reason was simple. As the saying has it, 'one for them and one for you.' So, if my people will go to see obscure films with me, then I have to give in and watch other stuff as well. Trust me, I enjoy a good blockbuster a much as the other person. Two words: Sherlock Holmes. That I saw twice by my own volition, of course. Entertainment is better when varied, after all.

Tarantino is not without artistic worth. Pulp Fiction was good. No doubt. Kill Bill, I had potential, well not much, but definitely some. The reason why I wanted to see Inglourious Basterds is because of one thing: satire. I read that he satirizes Nazi notions and Third Reich cinema in quite an informed fashion. I read that he is as comprehensive in his references as 153 minutes allowed him to be. And watch it, I did.

Inglourious Basters is the kind of film that would do justice to any college film course that covers modern cinema. Much like an academic, Tarantino's review of literature displays a desire to be thorough and investigative. To truly appreciate this film means one thing: exposure to/understanding of European cinema. I was happy to see so many European and American actors work in such an effortless-seeming way. Action and performance flow so very well. This is a long film (consistent with Tarantino tendencies) but this is not the kind of 'long' that makes one want to look at the watch and fidget. This is the kind of film that makes one want to shower it with all the attention one can give. And, if you're linguistically minded, Holy Cow! The languages spoken in this film are English, German, French, and Italian. I cannot think of another film where four different languages felt like one. Tarantino managed to create an Esperanto-like atmosphere that really impressed me.

And the acting? My-oh-my, the acting! I could tell that Tarantino had done his homework most expeditiously in this area. Christoph Wantz' portrayal of the villain colonel is simply breathtaking. Eli Roth's eyes are mesmerising and Brad Pitt's populist language is nothing if not well-delivered. Till Schweiger, the very talented German actor, is another great addition to this cast. As is Daniel Brühl. I cannot think of a contemporary actor who would have played the role of the hero soldier better. Ah, and Mike Myers has a little part in this film as well.

I revisited Basterds again this weekend and I was glad I did. Give it a try. If you don't watch much Tarantino, it might just make you think differently of him. I do now.

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