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Last week, I went to the flicks to see Italian offering I Am Love, starring Tilda Swinton. I noticed in the bookshop while I was waiting for the screening to start that she was gracing the front of various May magazines, including two separate (and very disparate) covers for Dazed & Confused. And I can't recommend the film highly enough, with its glamorous Milan setting, 1950s/60s-style panning shots, and obsessive almost to the point of hilarious sexual focus on food and nature. It did, however, have a fine ability to make me sob uncontrollably while trying to cycle home, and, despite the low probability of being spotted in a state of disarray (it was fairly early on a Sunday), I was unfortunate enough to find myself bumbling past a colleague and then bumping into a friend. Oh well.
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I like Tilda Swinton; she seems to pick some great movies to be in. The last thing I saw was Jim Jarmusch's weird but wonderful The Limits Of Control, and she's great in The Beach (on telly this week, I believe), Thumbsucker and as the ice queen White Witch in The Chronicles Of Narnia. I'm a wee bit behind and have only just got Burn After Reading on DVD, so don't go spoiling it for me now.
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Tilda also has to be commended for her brilliant schemes at bringing first-class film to rural remote Scotland, where she lives. In 2008, she collaborated with director Mark Cousins on The Ballerina Ballroom Cinema Of Dreams, a cheap-seats cinema brought back to life for a couple of weeks. In 2009, the pair hauled a mobile movie house, the Screen Machine, around the Highlands for A Pilgrimage film festival. Gives "road movie" a new slant, eh?
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"It [is] a genuine experiment," said Swinton, in The Guardian. "I thought – you know what, we don't know what we're doing. We mightn't be able to move this an inch, and when we did, I couldn't be more amazed. What's it going to be next year? Airborne or in freefall?"Cannae wait!
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