On Truth & Movies this week, we discuss James Gunn’s Superman reboot and talk to Alex Ross Perry about his experimental music documentary Pavements. Finally, for film club, we revisited Superman’s first on-screen appearance in 1951’s Superman And The Mole Men.
Joining host Leila Latif are Lillian Crawford and A. A. Dowd.
Truth & Movies is the podcast from the film experts at Little White Lies, where along with selected colleagues and friends, they discuss the latest movie releases. Truth & Movies has all your film needs covered, reviewing the latest releases big and small, talking to some of the most exciting filmmakers, keeping you across important industry news, and reassessing great films from days gone by with the Truth & Movies Film Club.
You almost can’t quite believe that someone hadn’t had this idea before: a well-to-do creative couple living in a cosy Madrid apartment decide that they want to wrap-up their 15 year relationship. Instead of being embarrassed or even saddened by the decision, they instead chose to organise a big party, on the logic that everyone celebrates union and no-one celebrates separation. And that’s massively unfair on separation.
Itsaso Arana is the comically unsentimental Ale, an independent filmmaker who refuses to let her guard down and spends the vast majority of the film with a scowl on her face as if to transmit her constant air of light annoyance at society and its antiquated precepts. Vito Sanz is Alex, her more neurotic partner who nonetheless is entirely all-in on this eccentric enterprise. The film consists of the couple individually disseminating the invite to friends and family while also fending off repeated accusations that the pair are entirely crazy for doing this. The repeated refrain is that they are wantonly destroying something beautiful.
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And from an audience vantage, you’re inclined to agree, as from the intuitive and loving way in which they interact and make decisions together, they present as the model couple. The paradox of this decision is that no couple who truly despises one another, who feels the pressing need to pack up and move on, would be able to be so civilised when it comes to this amicable parting of ways. It’s never fully evident why the pair are breaking up; the inference also is that they too are making a choice as more of a rejection of social mores than as a pressing desire to be rid of one another.
Writer-director Jonás Trueba – son of the Oscar-winning Spanish director Fernando Trueba, who co-stars here as Ale’s crestfallen father – draws on the template of classic Hollywood comedies in which a couple in the throes of a break-up eventually rediscovers the spark that set them off in the first place (The Awful Truth, The Philadelphia Story, His Girl Friday). Yet while those films tended to focus predominantly on the actions of the central couple, The Other Way Around offers a chorus of discourse and commentary and draws humour out of the fact that everyone thinks that Alex and Ale’s decision is an implicit criticism of their own bourgeois complacency.
To add further to the meta-cinematic layering, Ale is also making a film on a similar subject, and though we never actually see it, there are scenes documenting the feedback process in which Trueba comically anticipates some of the criticisms that the audience might level at his own film, the main one being the repetitive structure of the various meetings. But things are kept light and funny enough for the momentum to keep rolling, even if the film does lose its way in the final stretch when the couple go through the domestic process of splitting up and a more straightforward will they/won’t they dynamic is introduced.
Yet in the main this is a perceptive, self-analysing delight, and you can absolutely see this being remade in the English language by a filmmaker who will definitely sand all the edges down and pull back on everything that makes Trueba’s film so unique.
Selling your home in Puyallup can be an emotional and logistical challenge, but it doesn’t have to be a drawn-out process. For many homeowners, the quickest route to moving on is securing a cash offer. Whether you’re dealing with life changes, financial needs, or just want to avoid the traditional home-selling headaches, selling for cash offers speed, convenience, and peace of mind. Here’s how you can achieve the fastest cash deal while still maximizing your home’s value.
Why Cash Offers are a Game-Changer
A cash offer means a buyer purchases your home outright without the need for mortgage approvals or additional financing. In Puyallup, where the real estate market is thriving, cash offers are particularly appealing due to:
Speedy Closures: Traditional sales often take months, but cash sales can close in as little as a week or two.
Fewer Contingencies: Most cash buyers are prepared to purchase “as-is,” which eliminates the need for costly repairs or drawn-out negotiations.
Reduced Stress: With no risk of financing falling through, you’re free to plan your next steps with confidence.
For Puyallup homeowners, cash offers are particularly advantageous given the area’s growing demand. The city’s proximity to Tacoma and Seattle, coupled with its charming neighborhoods, attracts buyers seeking quick and straightforward transactions.
Steps to Obtain a Fast Cash Offer
If speed and simplicity are your goals, these steps can help you secure a cash offer quickly:
Partner with Local Real Estate Experts: Working with a Puyallup-based real estate agent or firm specializing in cash sales gives you access to a wide network of investors and buyers ready to make quick decisions. Local professionals also understand the unique dynamics of the Puyallup market, ensuring that your home is priced competitively.
Consider Professional Home Buying Companies: Companies like “We Buy Houses” specialize in purchasing properties for cash. They provide a fast and convenient option, especially if you’re facing time-sensitive circumstances. Be sure to vet these companies thoroughly to ensure you receive a fair and honest offer.
Spruce Up Your Property: While cash buyers are often willing to purchase homes in their current condition, a little effort can go a long way in boosting your home’s perceived value. A clean, decluttered, and well-maintained home can attract higher offers—even from cash buyers.
Set a Competitive Price: Pricing your home realistically is crucial to attracting serious cash buyers. Conduct market research, or better yet, rely on a trusted real estate professional to determine the right price point. Setting the right price from the outset can lead to faster offers and a quicker sale.
Leverage Online Marketing: With so many buyers starting their searches online, having a robust online presence for your listing is key. Social media platforms, online real estate marketplaces, and targeted local ads can help your property catch the eye of cash-ready buyers.
Be prepared to negotiate. Even in cash sales, there’s room for negotiation. While you want a fair price, being slightly flexible can help expedite the process. Focus on the bigger picture: a fast and hassle-free sale.
Puyallup: A Market Full of Opportunity
Nestled in the beautiful state of Washington, Puyallup boasts a mix of small-town charm and urban convenience. Known for attractions like the Washington State Fair and the picturesque views of Mount Rainier, it’s no surprise that Puyallup draws buyers eager to invest in the area. Whether your home is located near vibrant downtown amenities or in a peaceful suburban neighborhood, the city’s appeal works in your favor as a seller.
The increasing demand for housing in Puyallup means there’s no shortage of potential buyers, including those who can pay in cash. By presenting your property as a prime opportunity, you’ll be well-positioned to attract offers that align with your goals.
The Bottom Line
Securing a cash offer in Puyallup doesn’t have to feel like an uphill battle. By taking proactive steps—working with local experts, preparing your home, and pricing it right—you can achieve a fast and smooth sale. Whether you’re looking to move on, cash out, or simplify your life, a cash sale offers the efficiency and certainty you need.
As you embark on this journey, remember that speed doesn’t mean compromising on value. Stay informed, remain strategic, and trust the process. The quickest way to sell your Puyallup home for cash is just a few steps away. Discover practical strategies for selling your home quickly in Puyallup—explore https://www.webuyhouseasis.com/blog/how-to-sell-your-house-fast-in-puyallup-a-homeowners-guide/ for expert guidance tailored to homeowners.
“I can feel when you’re watching me, I like it” is the first line uttered by Kathryn (Cate Blanchett) in a cool seductive tone to her loyal husband George (Michael Fassbender) in Stephen Soderbergh’s spy thriller, Black Bag. The couple are no strangers to surveillance as their vocation in MI5 requires it, but George’s gaze is welcomed due to the innate desire and loyalty within. However, as the film progresses and George’s investigation forces him to question whether his wife is the intelligence leak, his once intimate gaze begins to shift. With the help of Clarissa (Marisa Aribela), George uses satellite footage to watch Kathryn’s covert mission, and so the dynamic changes. Although George insists that their marriage works because he watches her and assumes she watches him, the frisson is no longer between the couple, but instead in the satellite control room between Clarissa and George. While feline seductress Clarissa purrs her words, George takes no pleasure from this task; there is no longer any thrill in being the watcher or the watched.
George and Kathryn’s marriage is not the only bond that strains under the weight of espionage. Every other agent – Clarissa, Freddie (Tom Burke), James (Regé-Jean Page) and even the agency-mandated therapist Zoe (Naomie Harris) – struggles to maintain healthy relationships. Soderbergh’s latest concerns itself with distrustful spies, with the ability to lie about every encounter, but it could easily be a portrait of the London dating scene. In a densely-populated city where everyone has access to dating apps, the possibilities are presumably endless. No one has to choose, and yet according to Moya Lothian-McLean’s detailed report, no one is having a good time.
The feeling of being watched even falls to those who don’t partake in vocational voyeurism (like spy Caul or photographer Jeff). The students of Neo Sora’s Happyend are the subjects of surveillance rather than active participants, as their school has just installed a new CCTV system which identifies and automatically penalises students for breaking school rules. One poignant scene perfectly encapsulates the subconscious effects constant surveillance has on its students. After mopping the floor of the music room clean, Ming (Shina Peng) and Ata-Chan (Yuta Hayashi) find themselves stuck in the corner of the room, at least until the floor dries. They have washed away their past transgressions and are paralysed, afraid to leave footprints on the sanitised school floor, while another pair caught embracing in a stairwell are immediately chided by the camera. Much like today’s younger generations who have no memory of a dial-up modem, the students of Happyend are quickly learning to sacrifice sensual experiences for the value judgement of technology.
Last loves are just as susceptible to surveillance’s lure as first crushes. In Cronenberg’s The Shrouds, no one is surprised that grief-stricken entrepreneur Karsh (Vincent Cassel) is striking out on dates since his wife Becca’s (Diane Kruger) death. Especially when he takes Myrna (Jennifer Dale) to a graveside restaurant and shows her his wife’s decaying corpse through the app he invented on his phone. Karsh has become so accustomed to his new normal, regularly checking on Becca’s decomposing body, that he can no longer comprehend other people’s discomfort around death. His morbid obsession soon takes him to paranoid heights, uncovering a betrayal in his last marriage and so Karsh, with all his tech and intelligence, is right back where Caul started: confirming his paranoias, even at the detriment of himself. Karsh does not end up alone, his money and status prevent that from happening, but even as he finds a new grave partner, this eternally binding contract is ultimately soulless, leaving the viewer hollow.
Big tech’s encroachment into every corner of our lives has made surveillance so ubiquitous that we take on its invasive roles even when we don’t have to, inevitably leading to breakdowns of trust and intimacy in favour of widespread hypervigilance. These latest additions to surveillance cinema all share a sleek, cold touch in their depictions of surveillance technologies, with observation and objective truth prioritised over the messy, chaotic, nuanced human experience of love. From first crushes to grave encounters, this is how disruptive tech has become in our romantic lives. Our active participation in a culture which values information above all else makes us as detached as the algorithms that categorise us. Perhaps in order to find the love and connection many of us feel is missing from our lives, we need to recognise that all this information won’t bring us any closer. Then, we might even be able to kill the CCTV inside our head.
Planning a wedding is an exciting journey filled with endless possibilities to create a day that truly reflects your personality and style. Many couples seek ways to make their celebration distinctive, memorable, and personal. Whether you are drawn to rustic charm, seasonal elegance, or contemporary trends, there are plenty of options to consider that can make your big day stand out. This article explores different approaches to help you infuse uniqueness into your wedding plans.
Embracing the Charm of Barn Weddings
barn weddings have become increasingly popular for couples who want to combine rustic charm with a warm, intimate atmosphere. These venues typically feature exposed wooden beams, natural materials, and a cosy ambience that lends itself well to personalised decoration. Whether you prefer fairy lights strung across the ceiling, wildflower centrepieces, or vintage furnishings, barn weddings offer a versatile setting that can accommodate various themes.
The spacious nature of barns allows for flexible layouts, whether you’re planning a small, intimate gathering or a larger celebration. Additionally, barn venues often connect couples with local suppliers such as florists, caterers, and artisans, enabling a more customised and community-focused experience. By incorporating these local touches, the event gains a unique flair while supporting small businesses.
The Unique Appeal of Winter Weddings
Winter weddings provide a distinct charm that sets them apart from celebrations held in warmer seasons. The crisp air, softer lighting, and seasonal décor options create an elegant and magical atmosphere. Couples opting for a winter wedding can explore a colour palette featuring deep reds, icy blues, rich greens, or sparkling silvers, which all complement the season beautifully.
Decorative elements like pine cones, holly berries, and evergreen branches add natural, festive touches to bouquets and table settings. Candles and fairy lights can create a warm glow that contrasts with the cool outdoor weather, making the environment feel inviting and cosy. Providing blankets for guests and hot drink stations further enhances comfort and enjoyment during a winter wedding.
From a practical standpoint, winter weddings often offer more availability and flexibility with venues. Off-peak periods might come with discounted rates or special packages, making it easier for couples to secure their preferred location without stretching their budgets. This can be particularly appealing for those who want a memorable day without the summer rush.
Personalising Your Wedding with Meaningful Details
Adding unique elements that reflect your shared interests and story can make your wedding day truly one-of-a-kind. This might include incorporating cultural traditions, family heirlooms, or hobbies that are important to you as a couple. For example, couples passionate about travel could feature destination-inspired decorations or serve cuisine from countries they love.
Another way to personalise the event is by designing bespoke invitations and wedding favours that express your style. Interactive entertainment such as photo booths, guestbooks, or live performances tailored to your tastes can enhance the guest experience. These thoughtful touches help create a sense of connection and enjoyment, leaving guests with fond memories.
Enhancing Guest Experience through Technology
Modern technology offers many opportunities to make your wedding more engaging and accessible. Live streaming the ceremony allows friends and family who cannot attend in person to share in the experience. Digital guestbooks and wedding apps streamline communication by providing up-to-date information on timings, locations, and other details.
Using technology can also help manage logistics, such as sending reminders or sharing playlists for the reception. Couples can create customised hashtags for social media, encouraging guests to share photos and moments, which adds to the collective memory of the day. These tech-savvy touches combine convenience with creativity.
Blending Styles for a Truly Unique Celebration
Mixing elements from different wedding styles can also result in a memorable event. For example, a rustic barn wedding might incorporate elegant floral arrangements and modern lighting, or a winter wedding could feature outdoor fire pits and casual seating areas. Blending styles allows couples to showcase their personalities and preferences, rather than adhering to one specific theme.
It’s been six years since indie darling Alex Ross Perry whet his band-movie palette with the odious ace Her Smell. Ever since, the writer/director/producer has kept almost exclusively to directing music videos. Or so it seemed. As it turns out, Perry has been hard at work on a sprawling, singular band-movie project – a major stylistic departure and a magnum opus to date for the once-post-mumblecore filmmaker – Pavements.
For those that don’t know going in (like me), Pavement – or “The Slacker Rolling Stones of the 90s” as a talking head describes them – are one of the great disrupters of rock music history, which is funny when you look at a picture of them and even funnier when you hear them talk. The scene-shattering, genre-forming band that held indie rock court from 1989 – 1999 (with subsequent reunions in the 21st century) couldn’t seem less revolutionary.
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Equal parts Pavement band history, 2022 reunion rehearsal, career museum exhibit, ironic stage musical, 9‑figure biopic and behind-the-scenes mockumentary, Pavements is, above all, a trailblazing docufiction without borders. But what’s real and what isn’t?
The archival footage and the 2022 reunion tour? Real. The big-budget biopic? Fake. The exhibit? Real – well, sort of. The jukebox musical in New York City? Real-fake (they did rehearse and have two workshops, but it was never going to run like the movie suggests). The mockumentary? Real…in that it is fake. This movie? We’ll see. There’s no guarantee that whatever we watched/participated in at Venice isn’t simply the next pseudo-piece of the meta-pie. It wouldn’t be the first fake movie première of the project.
The constant blurring of the lines makes for a fascinating, often hilarious, watch. The idea that something absurd might be real – say, like, an actor developing vocal fry to play frontman Stephen Malkmus in the fake movie only to not be able to shake it and regret taking the role altogether – is comical. But the idea that they wrote this ridiculous thing about themselves (Malkmus is credited for the screenplay alongside Perry) is hysterical, like the numerous direct comparisons to The Beatles, given there is no band less like The Beatles than Pavement.
This is the latest collaboration between Perry and real-life wizard Robert Greene (Kate Plays Christine, Bisbee ‘17), who’s made an industry name for himself writing, directing, producing, and editing genre-bending blends of documentary and fiction, making him the perfect editor/producer to understand, clarify and build upon Perry’s ambitious vision to chronicle the band.
Joe Keery, Nat Wolff, Fred Hechinger, Tim Heidecker and Jason Schwartzman take roles in the faux-film, with Keery and Schwartzman proving particularly memorable. The former plays himself as a ditsy, overcommitted method actor sinking into the role of Malkmus for the upcoming biopic Range Life. Fake articles trumpet the anticipated grandeur of the “Paragon Vantage”-produced project and its enormous budget. Schwartzman, on the other hand, is primarily seen in the Range Life dailies as the band’s scrappy manager, delivering over-heartening one-liners while For Your Consideration watermarks on and off screen over swelling music and his hokiest, most emphatic moments.
To watch Pavements is to laugh with Pavement (all of whom were roaring during the première), to feel in on the joke, and nearly a part of the band. In that sense, it captures the artistry, ingenuity and humor of its subject better than an encyclopedic history ever could – a music doc for whom success, in the spirit of Pavement, looks very different.
Judge Dredd is a British science fiction comic book character, created by writer John Wagner and artist Carlos Ezquerra, first appearing in the second issue of 2000 AD in 1977. Dredd became a comic legend as the judge, jury, and executioner in the dystopian, post-apocalyptic metropolis of Mega-City One, in his relentless pursuit of maintaining the law, whatever the cost.
Following Hollywood’s rediscovered love of comic book IP that dated back to Richard Donner’s Superman: The Movie (1978) and rejuvenated with the blockbusting Batman (1989) and Batman Returns (1992), studios were digging deeper for more source material which would hopefully lead to a big-bucks-franchise; including Darkman, Dick Tracy, Teenage Mutant Ninja Turtles (all 1990), The Rocketeer (1991) and The Crow (1994). The big screen debut of Judge Joseph Dredd seemed inevitable.
Cinema Scholars takes you on a deep dive into the 30-year-old film that mixed action, sci-fi, and dark humor, which was criticized for its uneven tone and deviation from the source material. And despite impressive visuals and a notable cast, Judge Dredd received mixed-to-negative reviews but has gained a cult following over time.
Sylvester Stallone stars in “Judge Dredd” (1995). Photo courtesy of Buena Vista Pictures.
Synopsis
Judge Dredd is set in the dystopian future (is there any other type of future, Hollywood?) of the 22nd century. Much of Earth has become a wasteland known as the Cursed Earth. Humanity is concentrated in massive cities called ‘Mega-Cities’. Mega-City One, stretching across the eastern U.S., is plagued by chaos, overpopulation, and crime. To maintain order, an elite law enforcement group known as the Judges serves as judge, jury, and executioner.
One of the most feared and respected Judges is Judge Dredd (Sly), known for his unwavering dedication to the law and brutal efficiency. However, his life is turned upside down when he is falsely accused of murder — a crime seemingly proven by DNA evidence.
Dredd is framed by Rico (Armand Assante), a former Judge who has escaped prison. Rico is Dredd’s genetically identical “brother”, created from the same DNA in a secret project to engineer the perfect Judge. While Dredd rigidly upheld the law, Rico embraced chaos and violence.
Stripped of his badge and sentenced to prison, Dredd escapes with the help of a talkative hacker named Fergie (Rob Schneider). He sets out to clear his name and stop Rico, who is plotting to overthrow the government and create an army of cloned Judges to rule Mega-City One.
In the end, Dredd defeats Rico and uncovers the conspiracy involving the Janus Project, which aimed to create a genetically superior breed of Judges. He restores order to the city and declines a promotion to Chief Justice, choosing instead to return to the streets as a working Judge.
Pre-Production
Armed with a budget of $80 million ($200 million today after inflation), producer Beau Marks and Cinergi Pictures (with backing coming from Disney subsidiary Hollywood Pictures, and distribution by Buena Vista) chose to shoot entirely in the UK, drawn to the country’s “phenomenal” crew talent. Offers were made to Richard Donner and Renny Harlin to direct, but they were declined. Subsequently, Danny Cannon was selected as director. He quickly assembled an ambitious team of young creatives to give the film fresh energy. Effects supervisor Joss Williams added:
“Beau and Danny wanted professionalism. Yet they also wanted a young crew, young blood, fresh ideas and a lot of confidence”
Cannon insisted that as much was done in-camera and/or using practical methods, including the 11-foot-tall, limb-tearing ABC Warrior robot being built as a real animatronic—a decision that paid off. The miniatures for Mega-City One were particularly impressive—some reaching 14 ft tall, giving a palpable sense of scale.
Sylvester Stallone
Cannon nearly cast Arnold Schwarzenegger before settling on Stallone. Stallone, unfamiliar with the source material, demanded that his character remove the iconic helmet early on.
“Nobody was going to pay to see Sly Stallone hide behind a visor for 90 minutes.”
-Ed Power, The Telegraph
Rob Schneider and Sylvester Stallone star in “Judge Dredd” (1995). Photo courtesy of Buena Vista Pictures.
Accordingly, Judge Dredd opens with a helmet-off scene 20 minutes in. An early franchise divergence that outraged purists. Fans made the case that the mask equaled anonymity, while the eyes were the window to the soul; however, as they were blacked out, Dredd was able to remain a remorseless law enforcer. Not so in Hollywood.
When it came to full costume, Stallone also had some other ideas. After some early tests, the actor called on the services of his friend, one Gianni Versace, to design a new version of the uniform. In the era of over-the-top 90s costume flair, some bizarre early sketches included an armored codpiece, thankfully scrapped, to the relief of costume designer Emma Porteous.
Co-stars like Diane Lane (Unfaithful), as Judge Hershey, were also caught in the theatrical controversies. When the script called for full nudity, Lane balked:
“I had this phobia that they were going to get my [bum] onscreen at the same time as Sylvester Stallone’s…I’m like Judge Bone and he’s got these cinderblocks for glutes. I cannot be on camera the same time as him”
Filming and Release
Filming took place at Shepperton Studios and UK locales like Bankside Power Station and Kew Gardens. But red tape and bureaucracy weren’t making it any easier. Nonetheless, the seasoned British crew kept the shoot on budget, on schedule, and looking great. Upon release, Judge Dredd was not all doom and gloom. As noted by Empire in their review:
“…it’s the production design and special effects that engage…”
When all was said and done, the film’s production value and the attention to detail in bringing Mega City One to life earned praise across the board. However, critical reception was mixed. Many felt the tone was uneven. Caught between the dark dystopia and action-packed comedy. Cannon’s violent vision, in keeping with the tone of the source, had to be toned down significantly.
Sylvester Stallone and Armand Assante star in “Judge Dredd” (1995). Photo courtesy of Buena Vista Pictures.
A cut of the film was submitted for rating five times, receiving NC-17 each time. Stallone stepped in (again) and recut the film himself, with studio input. Sly felt partly responsible for the original high rating as he “brought too much baggage” with years of over-the-top violence from the Rambo series. Therefore, his cut upped the buddy comedy.
It can be argued that Stallone was influenced by his positive working experience making Demolition Man (1993). So, as a result, the actor was aiming for some of the same lightheartedness (and more Schneider).
Ultimately, Cannon stated he’d never work with another big-name star again. Subsequently, he’s had a successful television career. Stallone, on the other hand, called the film his biggest mistake. The original creator, Carlos Ezquerra, also voiced his disappointment with how the film had no real links with his creation and told the wrong story.
Box Office and Legacy
At the box office, it was another comic book hero who dominated with Batman Forever, along with the real-life heroes of Apollo 13 dominating the domestic and global markets. Judge Dredd ended its worldwide run, grossing $113 million. Ironically, this would be more than the 2012 version, titled Dredd, and starring Karl Urban. That film only grossed $42 million globally.
In hindsight, Sly wanted to make a Stallone Movie, while the director wanted to make a Judge Dredd Film. Unfortunately, Mega City One was not big enough for both of them. The film remains an audacious gamble on practical effects, ambitious creature design, and bold costume styling. It blended youthful ingenuity and rock-solid craftsmanship, but sometimes veered off course into Hollywood compromises at odds with its source.
Despite its flaws, the sheer scale, miniature cities, animatronics, and the wildly ambitious stunts still resonate with FX enthusiasts and fans today. Whether you regard it as a misfire or a visual marvel, the 1995 take on Mega-City One left an undeniable mark. Its production may have been tumultuous, but it remains a testament to creativity, craftsmanship, and that mythic ‘90s blockbuster scale. Is it flawed, fascinating, and utterly unforgettable? You be the judge.
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London has long been a powerhouse of film,
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For all of the luxury it displays, the vitality in I Am Love comes from a more egalitarian source. Director Luca Guadagnino sets up a milieu where the ceilings are high and the catering costs are higher, where soup is served from silver tureens and the men are dressed by Fendi. Then, he spins the meaning of these aesthetic choices as the force of desire prompts his leading lady to take flight from it all.
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Having developed the film with Guadagnino for 11 years, Tilda Swinton gives herself over to a sexual awakening that leaves her character, Emma, permanently unbuttoned from the costume of a previously well-worn life. Her erotic transformation takes place in a rural setting, amidst rolling hills, miles (literally and spiritually) from the lonely, opulent rooms that she usually occupies as a Recchio woman.
Emma is a Russian émigré who long ago sublimated her origins (and name) by marrying into an aristocratic Milanese family. As a wife and mother of three, Emma glides through her social and household responsibilities. She is a warm, self-possessed presence saying little during the dinners that mark one occasion after another. Visually she looks the part (dressed in Jil Sander by costume designer Antonella Cannarozzi) as she silently basks in her chief pleasure: food.
Yorick Le Saux’s golden-hued cinematography cleaves to the sensual digressions happening in plain sight even if they go unnoticed by a family preoccupied by its matters of the day. At a lunch with her glamorous mother-in-law, Allegra (Marisa Berenson), the conversation turns to whether Emma’s son Edo will marry his girlfriend. Both Emma and the camera are overcome by the indecent pinkness of a plump prawn that has just been delivered to the table. Le Saux’s close-up on Emma as she eats is intimacy incarnate.This dish has been cooked by Antonio (Edoardo Gabbriellini), a friend of Edo’s. The two young men plan to open a restaurant together in San Remo on the Italian Riviera.
From the moment that Emma sees Antonio – prepping tiny perfect morsels clad in chef’s whites – something within is shocked to life. Swinton performs a woman ground to a halt by a causal everyday encounter. Seconds later, Edo is there, missing the significance, missing the rupture, because his mother is a contained person whose interior revelations do not scan in an environment built for big statements.
Emma visits San Remo, full of unformed hopes, and ends up shoplifting a book called Atelier Simultane about another Russian émigré to France, the artist Sonia Delauney. This book, with its colour-splashed cover, is a talisman for all that she is about to experience. Cannarozzi’s costumes veer into a new palette, as oranges and reds clothe Emma’s lower half. Undressing is established as a motif.
Firstly, the camera spies on Antonio peeling off jeans in a hidden corner of a garden. Later, he disrobes Emma, tenderly undoing and setting aside jewellery before moving onto items of clothing. She will never dress the same way again and when they make love outside witnessed by flowers and insects, the only costuming is nature’s finery.
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