Follemente

Thanks to a cast beloved by the Italian audience for its natural charm, Follemente by Paolo Genovese delivers on its promise to provide laughs and moments of lighthearted fun. However, the film's core idea is not particularly original: essentially, it's an Italian live-action take on Disney's Inside Out, and Disney itself is among the producers of Follemente.

The real strength of the movie lies in the interactions between the actors portraying the protagonists' thoughts and emotions, which result in some of the most enjoyable scenes. On the other hand, Edoardo Leo and Pilar Fogliati, who play the two main characters, fail to establish the right chemistry, making their performances feel unconvincing and distant.

Paolo Genovese's Follemente, a romantic comedy, shamelessly echoes Pixar's Inside Out, personifying the inner thoughts of Piero, a divorced teacher, and Lara, a furniture restorer, during an awkward first date. Edoardo Leo and Pilar Fogliati lead a talented cast, with inner voices like the cynical Valium and dreamy Giulietta driving the narrative. The early humor spark some charm, but the script stumbles with repetitive rants about dating, paranoia, and forced feminist themes that feel hollow rather than poignant. Lacking the emotional depth Follemente grows tedious, despite its commercial success in Italy. The lackluster chemistry between leads and a heavy-handed script make this a forgettable rom-com. I suggest to watch of Inside Out even if it's meant for kids.

A film that strikes a fine balance between lighthearted moments and meaningful reflection, delving into certain dynamics with depth and nuance. This is a fresh reinterpretation of Inside out, rooted in a authentic Italian setting that feels both real and current, offering a viewing experience that is as engaging as it is enjoyable.

An insufferable, mind-numbing ordeal. What could've been an insightful look into relationships ends up as a bland, shallow mess. The film clings to a single, painfully static situation, refusing to explore anything beyond the surface. Scenes before or after the main event could've added depth - but no, we're stuck watching a lifeless script stumble along with zero narrative momentum. Performances that might've had potential are completely wasted, suffocated by writing so weak it borders on parody. Characters speak like clichés, plot points appear out of nowhere, and emotional beats fall flat. It's as if the writers had an idea for a 10-minute short and stretched it into a full-length film with sheer filler. No vision, no soul, just a hollow exercise in mediocrity. If boredom were an art form, this would be its masterpiece.

Genovese's film is a highly successful comedy, thanks to its sharp and witty dialogue, well-paced storytelling, and outstanding performances from an excellent cast. The two protagonists, caught in the awkwardness of a first date, provide plenty of laughs, but-true to the finest tradition of Italian comedy-the biggest laughs come at our own expense.

Yet the film is not just about humor; there are tender moments as well. "You cry and you laugh-what more could you ask for?" says Valeria Puccini in one of the film's most memorable lines, perfectly capturing its essence.

Beyond its premise-reminiscent of Inside Out-what truly makes the film stand out is its wealth of clever ideas, woven into a solid and well-crafted screenplay. Perhaps the strong Italian identity of both the story and the cast may limit its international appeal, but rather than traveling as is, it is likely to inspire numerous remakes, especially across Europe.