“Love.Me” by Nicola Schito

“Love.Me” is a film that we wish would never end. Because the narrative has an incredible value, because the aesthetic structure is wonderful and the story extremely powerful and original.
But there is perhaps something more behind that should be studied. If it is true that the best films seem to be of extraordinary simplicity, it is necessary to open a gash in beauty to get to the truth. And probably the same concept seems to apply to Harumi, the beautiful protagonist of this film, in search of love, or its real meaning. What she will encounter in her path is a tender and desperate degeneration of attraction, inevitably linked to violence. With a “futuristic” leap forward, Nicola Schito actually returns to a primordial dualism, which takes root in the origins of humanity. Love and violence, attraction and aggression, blood and flesh. Starting from the screenplay, solid and very deep, sensitive to the nuances of language, the film develops in a continuous contraction and expansion of spaces and times. The film therefore reaches its shocking end in a blink of an eye, and what remains is a sense of deep empathy towards the character and towards the reality that we know too well. The camera divides the space into paintings, and at times blends with the meat, other times it distances it to give breath to the image.

Behind Schito’s gaze there is a great maturity and the choice of meaning behind the mise en scène is evident: it is impossible to reduce it to pure cinematographic grammar.
“Love.Me” alternates narration with moments of suspension that seem to lead aesthetics towards a transcendence of narration, in pure visual experimentation.
The same strong artistic identity of the author is evident in cinematography. Lights with soft and warm tones that seem to fade the gradations of the skin towards every corner of the frame are opposed to diametrically opposite choices. Nicola Schito’s film manages to carry on a strong and fascinating idea with a very extensive cinematographic sensitivity, capable of extending to each technical department and joining the parts in a single great film show, or perhaps, we could say, a single “body “.

A praise to the talented lead actress.