I Am Love

The perverse flaws of this film are matched only by its characters' general incompetence at being human. The film debases liberty by suggesting that it consists only in the kinds of personal expression that stem from egoism.

The film text itself contains this sentiment. At one point a brother denies that a gift to his sister is generous by claiming that his motive is selfish: he is happy when he sees his sister happy. Too bad this voice from beyond, the bearer of this genuine insight about ethics, must be slaughtered for the others to be capable of self-respect.

If the film strives to affirm the value of living for oneself, it fails because it portrays autonomy as based in ridiculous violence. If it suggests that love and desire are only possible in constraint, then it's completely corrupt because it fails to differentiate the two. If instead it wishes to punish us for being capable of these tendencies, if it seeks to reveal the logic of our own deeply destructive habits, then it succeeds marvelously but the message must be dredged up with more effort than it would take to have fun being a member of the Recchi family.

FACES

The contrast between surface-level frivolity and the turmoil it masks makes this film remarkable. Redolent of La Notte, Faces has the uncanny ability to universalize domestic misery and, deliciously, teach us nothing but that we are accountable for our own suffering. I love the scene at the end when husband and wife sit on the staircase, the morning after both have explored the mixture of melancholy and liberation in adultery. It occurs literally minutes after the wife recovers from a suicide attempt. On the staircase, they smoke cigarettes which they've lit with a grudgingly shared lighter. At a certain point they both cough violently. There's a certain elegance in this tragic moment: a marriage has just ended, but the habit of idiotically seeking happiness continues.

Faces (1968) - Criterion Collection