What Does a Woman Want? Io Sono l'amore/I Am Love and Cairo Time
Bibliographic record
Abstract
Up to now, each time I've written a piece for CineAction's TIFF section, I have chosen a film or films that I found particularly interesting and worth recommending to our readers. But this year it was different. For me, the festival produced few really outstanding films; the one that I responded to most, Marco Bellocchio's Vincere, was too complex in form for me to write about without a second viewing. So I have decided to write about 2 films that I found particularly irritating, and for similar reasons: an Italian film, Luca Guadagnino's lo sono l'amore/I am Love, and a Canadian one, Ruba Nadda's Cairo Time. Both films ask the same Freudian question What does a (middle-aged married) woman want? And answer it with the same response: an illicit affair with a younger man who makes them feel alive once again. end results however do differ, although both follow the melodramatic conventions of post-WWII women's films. Io sono I'amore is set in Milan, and concerns a family whose wealth derives from the textile business. protagonist is Emma Recchi, played by (an unlikely) Tilda Swinton (speaking fluent Italian), who is married to Tancredi, the son of the family's patriarch. While her relationship with her husband does not appear to be an unhappy one, over the course of the narrative, she falls passionately in love with the friend of her son, a young man half her age, who returns the passion. transformation is initiated and encoded through the sharing of food. While Emma personally oversees the preparation of food for her household and has a reputation as a fine though amateur cook, Antonio is a professional chef whose culinary production sends her into an ecstatic swoon at the first tasting. In a rather strange sequence which has Emma stalking Antonio as he walks through the town of San Remo, the two meet up far away from Milan and she follows him to his place in the mountains where he is working on recipes for a restaurant that her son and he want to open. There, they fall into each other's arms and indulge in food and sex and nature. narrative shifts into tragedy however when Emma's son realizes that his mother is sleeping with his friend, and the confrontation ends disastrously. By the film's end, Emma has chosen her future path, rejecting her previous life and opting for art and youth and love. [ILLUSTRATION OMITTED] In Cairo Time, the narrative revolves around Juliette/Patricia Clarkson, a Canadian who arrives in the Egyptian city in order to meet and spend some vacation time with her husband Mark, a United Nations official who has been doing humanitarian work in Gaza. However, he is delayed and instead arranges for a former colleague, Tareq/Alexander Siddiqi, a native Egyptian perhaps 10 years younger than her, to show her around the city. While the promotional material on the film's website claims The last thing anyone expects is that they will fall in love, any sentient being who has seen a few films in their time will know instantly that that is precisely what is going to occur. Slowly but inevitably Juliette is overwhelmed by the exotic locale, sights, customs and people, and the relationship between tourist and tour guide comes dangerously close to turning into lover and beloved, the only thing preventing that outcome at the film's end and ending the film, is the arrival of her husband, just in the nick of time. Io sono I'amore's Emma and Cairo Time's Juliette, are approximately the same age, (as are the two actresses playing them, Tilda Swinton [b. 1960] and Patricia Clarkson [b. 1959]) (1); each has grown children, a husband who loves them, and a predetermined role to play in their respective social circles. Neither is native to the country where the action takes place: Emma is of Russian origin although that is not made obvious by any actions or character traits, her past somewhat convoluted as to how she came to marry into a wealthy Milanese family. …
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How this classification was reachedexpand
Full frame distilled prediction
Teacher imitationNot calibrated prevalence, not ground truth. Human validation pending. Learned from the 10,348 direct Codex labels and 10,348 direct Gemma labels. Candidate is the union of thresholded teacher heads; consensus is their intersection. These outputs are machine_predicted_unvalidated and are not human labels or direct frontier model labels.
Codex and Gemma teacher scores by category
| Category | Codex | Gemma |
|---|---|---|
| Metaresearch | 0.001 | 0.000 |
| Meta-epidemiology (narrow) | 0.000 | 0.000 |
| Meta-epidemiology (broad) | 0.000 | 0.000 |
| Bibliometrics | 0.000 | 0.000 |
| Science and technology studies | 0.001 | 0.001 |
| Scholarly communication | 0.001 | 0.002 |
| Open science | 0.000 | 0.000 |
| Research integrity | 0.000 | 0.001 |
| Insufficient payload (model declined to judge) | 0.005 | 0.003 |
Machine scores (provisional)
The two teacher heads of the student model, read on this work. A score orders the frame for review; it never asserts a category, and the validation status ships verbatim with every row.
Baseline scores from an immature model (maturity gate not passed, 7 training rounds). Scores rank; they never assert a category.
score_only:v0-immature-baseline · verbatim from the scoring run: score_only means the number may rank works, and no category label ships from itClassification
machine, unvalidatedMachine predicted; both teacher heads agree on what is shown here.
How this classification was reached, model by model and score by score, is at the end of the page under "How this classification was reached".