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Nov. 15th, 2009 | 03:58 pm
The cast of Io sono l'amore (I am love), with Tilda Swinton and Marisa Berenson.
Last night, a friend joined me to a special advance screening of Luca Guadagnino's collaboration with Tilda Swinton at the Cinema Arts Festival. The Festival was organized by local film curators from museums and universities, so all the films shown were similar in their emphasis on formal visual approaches as opposed to storytelling or even character development. After the movie the director and star discussed the movie and influences from Hitchcock and Visconti and Sirk.
I sat a couple of rows behind Tilda Swinton and Guadagnino. She's charismatic, tall, very pale, beautiful but not pretty, and her hair was blond and short. She was wearing a black Lanvin(?) cocktail dress with a boat neck in the front that plunged in a V in the back with an ivory faille bow above the butt. Plain black patent stilettos. She airkissed socialite and longtime couture customer Lynn Wyatt, once close friend of Princess Grace, who was right in front of me.
Swinton asked that journalists not review the movie yet, since it wasn't completely finished. So I won't criticize the film, even though I'm not a journalist. It reminded me in some ways of Pasolini's Teorema, and Visconti's Senso and Ophul's Earrings of Madame de and Antonioni's La Notte, but it also had a 70s European film vibe to it. I recommend it.
One of the amazing features of the movie is that it had a score by John Adams who's probably the most prominent living modern classical composer, and this is the first time he allowed his music to be used in a film. Some of the score was new material but a lot of it was taken from previous works like Nixon in China and The Death of Klinghoffer..
It was wonderful to see Marisa Berenson in a movie again, and it was fascinating to see her portray a descendant of the sort of Milan colloborator fascist culture that her grandmother Elsa Schiaparelli shunned when she left for Paris and then New York back in World War II.