I Am Love

There's much to admire in I Am Love, not least the sumptuous design and cinematography. The latter ranges from otherworldly shots of a snowbound Milan which open the film to the loving display of succulent dishes prepared by young chef Antonio. Yet it's difficult to warm to the film itself. The icily composed upper class Recchi clan, with their immaculate interior decor, clothing and accessories, look pretty but keep everyone, including the viewer, at a distance. The Russian wife, Emma, had her Christian name changed by her husband upon marriage and claims she can no longer remember it, while Eva, who is merely the fiancee of son Edo, remains noticeably isolated among the grieving family at the hospital. Even our heroine, Emma, remains rather unapproachable and unreadable, though her own surprise at the unexpected passion she finds with Antonio is palpable. It's probably no surprise that her sense of freedom, both emotional and physical, finds it fullest expression away from the family mansion - in the sunlight of San Remo and the open air of Antonio's father's estate. The Recchi home feels like a particularly well-endowed prison by comparison. Once the family are away (at university, on business) there's nothing to alleviate Emma's basic loneliness. Even the sympathetic Ida refuses to share a meal, keenly away as she is of her inferior status. It's no wonder the lure of companionship and freedom wins.