Not fantastic, but Tilda Swinton is enjoyable to watch in this Italian romantic drama.

The beginning was torture. It was strangely, even badly edited. The story was jumpy and difficult to follow and it was boringly draggy. But after the culmination point everything grew brilliantly to the climax and the end. I liked when the editing was supporting Tilda's state of mind, but I did not like when editing was not about her and anyway it was using the same technique. But of course you have to stumble through the beginning to get the best out of the end.

Yes, I will admit that the final act is a bit of a stretch. But the film is staggering in its beauty and impressive in its nuanced depiction of passion vs. tradition that even the jarring conclusion, although deliberate, achieves great depth and meaning. Swinton embodies her character effortlessly, as expected.

Beautiful in so many ways. The story struggles a bit though, especially towards the end.

Gorgeous, bizarre ... and that was one of the best sex scenes I've ever seen. I never knew where this film was going

Flamboyant, elegant & moving film, carried by a terrific performance from Swinton. Storytelling is a little too bloodless and clichéd, but I guess that comes with the territory.

An elegant quasi-feminist statement handled with care and reserve. Pleasant surprise.

Its a fancy soap opera

I Am Bored.

"Io Sono L'Amore" is a Kieslowski-esque melodrama: everything looks gorgeous and the story is apparently indifferent, only to be elevated to impossible heights by tremendous direction, unmatchable cinematography and a startling performance by The Tilda Swinton. Guadagnino is a master of his craft -every frame looks stunning, and although the story he gets to tell is unspectacular at best, he infuses it with such intensity, that it is impossible not to, at the very least, admire his effort.

01 Suba 11 & degisimin ve burjuvazinin itici berbatligi- ask her seyi kurtarabilir mi? bireyi ozgurlestirebilir, kurtarabilir, duzeltebilir ama toplumu asla..

"Its central story and its tributaries are rich enough to overcome much of the director's odd and arguably unmotivated catalogue of visual and aural trickery." - Andrew Schenker

I think they were trying to cram four different films into one - a critique of the bourgeoisie, a gastro-romantic comedy, some softcore porn and a nature documentary. The result was a very puzzling hodgepodge indeed. Oh well, at least we laughed heartily for a good half hour after the film.

A gorgeous film. So subdued and so quiet with the exception of its booming and jovial orchestral score which makes its sounds almost as good as its sight. The whole production was so understated. The actors deserve a tip of the hat, as many of the main cast had little to no lines and still delivered so much. I left drained from sensory overload and overjoyed by the journey of the characters. Such a short review can't say much but I highly recommend it, especially to fans of cinematography. Wow.

Italian cinema is alive and well. Swinton gives her finest performance yet, and La Saux's cinematography is something to marvel at.

I Am Love is visually rich and crazily meticulous. The composition of each shot is so consistently so good that they deserve to be studied on their own merits, film be damned. It's one of those rare movies that you could easily watch on mute. Um, with subtitles off, that is. Even though I don't want to, I'm about to throw the "K" word around. At times, I thought of Kubrick. Ugh, I feel sick. Yeah, anyways. I Am Love uses colour better than Kubrick ever did, I'll say that.

good in an old-fashioned way. solid conception but something is missing...

The tremendous and bombastic style unearths no upperclass truth, just facile self-emancipation and misplaced sensuality.

Exquisitely crafted portrait of the thawing of an ice queen - this is a very beautiful film. The camera often lingers on the minutiae, the details off the main stage. The ending though, is not good.

An engaging ensemble piece presenting the obscure forces behind the dwindling status of the haute bourgeoisie, not a film I would normally recommend nor enjoy, yet it's done with so much devotion and aesthetic care, I couldn't resist... that is until the final act, where the film sadly falls apart. Guadagnino desperately figuring a way out is kind of an interesting failure. Good nonetheless.

The dude who made photography and the dude who made the sound were friends, but didn't want to be friend with the director.

Mojo_Jojo is full of shit. The movie is visually very rich and engaging. The one thing I will concede is that the music is sometimes misplaced. But it isn't the composer's fault, in this case. The music is culled from the oeuvre of the American Post-Minimalist composer John Adams. Having a close connection with many of the pieces in the soundtrack, I was more than aware when they were placed or spliced awkwardly into scenes, and when they were used to wonderful effect. Go see it.

it's very ironic to see Tilda Swinton who needs a translator to understand while the man who is "Indian and American" was speaking. and above that, She is speaking Italian with a Russian accent. The score is a little mismatched with the scenes and there are some gaps in editing, but yet overall it's a good movie.

Great directing

An impressive Swinton performance in a film about how the culture of a powerful family controls people--especially its women. It has many features of snobby movies I usually hate (lush landscapes, imposing medieval buildings, close-ups of expensive interiors and exotic foods) but here they don't seem indulgences, but rather objective correlatives of the human drama before us. Although marred by an unnecessary tragedy used to drive the conclusion, the film is still intelligent and effective.

While wonderous to look at, it's impossible to connect to any of the characters because they're all so vapid and indulgent. And they have too damn much money. I want to feel for Emma, but I don't understand her motives enough to get to that place. She lusts after Antonio, but when does that turn to love? And how, after losing her son, does she decide to run away from her family?

The most simple term to describe the film would be 'elegant'. This romantic, Italian story is well crafted and acted. Swinton is in top form here, and well complemented by the film's simply beautiful camerawork and score.

Really well-done and emotionally-rich Italian melodrama. Swinton - for whom this was a pet project for, I believe - proves why she's one of the best actresses currently working. The film is absolutely beautifully shot and edited magnificently. Occasionally it delves a little into OTT silliness, but mostly it's a gorgeous, affecting feature. ps everything in Mojo_Jojo's review is the opposite of what is true

Dreadful, the only positives come from the unintentional comedy. There are lessons to be learnt here: Let the man composing the score actually watch the film, the sudden intense orchestral moments are always out of place; Hire a cinematography, almost every shot in this entire film suffered from poor composition; Check your light levels, many shots had strange saturated areas from windows or strange shadows; I could go on. If you go in and look for a film "so bad it's good" then it might be okay

Guadagnino brings fantastic camerawork and strong visuals reminiscent of Paolo Sorrentino. I loved his use of soft-focus, shallow depth-of-field photography with an abundance of natural light to show the intimacy of the romantic scenes. However I found the grandiose music off-putting and the script's grandiloquent brush strokes a bit pretentious - under all the posh trimmings the main course is a love story which is meaty enough to be a meal in itself. The soap opera ending was a disaster.

There's a food-film ingredient from the shelf of Babette's Feast, Big Night, Like Water for Chocolate, Mostly Martha, and the like -- a sensual awakening, for example, to a glistening plate of prawns, enclosing the heroine in her own personal spotlight -- as well as a Chatterley-esque attunement to the world of flowers, berries, bugs. Guadagnino exhibits a painstaking attention to detail -- the weather, the light, the living spaces, the furnishings, the silent comings and goings of the servants

Dreadful.

A breathtakingly photographed bit of cinematic opera.

Guadagnino's intimate camera work makes excellent use of the frame's edge, beautifully capturing the steadily cooling urban environments and lush natural settings with an elegant aesthetic. These luscious visuals are complemented by a powerful score that accentuates the the film's strong emotions. The narrative itself is an almost abstract romance, lead by Swinton's Emma, set in a claustrophobic family. Some of its twists feel disingenuous, but its jolting conclusion is effective and profound.

From the intriguing setup in the opening act until the overwrought ultimate scene, this is a handsomely made film, postcard framings and all. It's also often heavy-handed. Do we really need shots of flowers and bees during the sex scene and raindrops making a statue cry at the funeral? That latter development of the plot felt unnecessary, too, by the way.

I did not care about anything that happened in this movie.

Like the character of Emma (impressively played by Swinton), who seems to at times exist on another plane, I Am Love is unexpectedly dreamlike and otherworldly. And like a dream, I Am Love is a beauty of a film, but it remains distanced and overly melodramatic. There's a lot to admire here, but I Am Love is either overwrought or overly subdued, meaning we're either rolling our eyes or worse, uncaring. But there's moments of beauty here. Score is not a grade.

Doesn't bring anything new to the table, but in true Italian tradition, it constantly and violently flogs you with aesthetic, sensual, chic and emotionally tense input, leaving you battered and bruised with a strange need to visit Tuscany this summer.

It's a very interesting, if a bit pretentious, movie. And Denzel Washington's face is distracting.

Swinton always attempts bold milestones, but I Am Love makes one long to go back to the old landmarks.