Skip to Content, Navigation, or Footer.
34th Street Magazine - Return Home

Film & TV

Baby Don't Hurt Me

Probably the farthest thing from the over the top “passion” on The Jersey Shore, the Italian film I Am Love is a quietly moving and understated look at relationships. Tilda Swinton stars as Emma Recchi, a Russian woman who marries into an Italian industrial empire. The viewer is introduced to the family at a dinner party, just as their dynamics begin to change.

Edo, Emma’s son, becomes heir to a textile factory, but all he really wants to do is to open a restaurant with his chef friend Antonio. Introducing his mother to his friend, Edo unknowingly helps start a romance between the two. While Emma’s husband is away, a shared interest in cooking helps Emma and Antonio’s affair progresses slowly and naturally.

Swinton is marvelous in the role, gradually breaking through her chrysalis. Although the film could easily focus only on Emma’s story and the choice one must make between happiness and responsibility, it deftly explores relationships that illustrate other types of conflicts as well. Dealing with her own issues, Emma’s daughter “Betta” (played by Alba Rohrwacher) steals many scenes. Unlike in many American films, the score in I Am Love never overpowers the story, instead letting the silences between characters speak for themselves.

One of the few flaws of the film is that the conclusion is a predicable, easy way out. But if you can forgive the ending and appreciate the long silences, I Am Love is well-worth the extra attention. It is a masterpiece of cinematography with its beautiful scenes of Milan, and an interesting commentary on what love was, is, and should be.


More like this
ironlungdom.png
Review

‘Iron Lung’ and the Rise of the YouTuber Film

Iron Lung shows how a creator with a large online audience turned a low budget game adaptation into strong box office revenue through fan driven promotion and social reach. YouTube creators build direct audience ties, run production pipelines, and mobilize viewers to support projects across media platforms. The film’s performance signals a shift where online personalities compete with studio backed releases through community scale and digital marketing power.

Wicked Duology
Film & TV

‘Wicked: For Good’ is for the Theatre Kids

Wicked: For Good closes its story without awards recognition but with clear creative conviction. The film’s reception reflects a mismatch between its intentions and critical expectations. Designed as the second half of a continuous narrative, it prioritizes character depth and long-term emotional payoff over accessibility. In doing so, For Good succeeds less as a crowd-pleaser and more as a film made for those already invested in the world of Wicked.