The most anticipated cute movie of 2022 just debuted on Netflix

Adolescence is definitely the astral hell of humanity par excellence — and the culture industry knows it perfectly well. From one year to the next, the sensation that the lay public has is that films about boys and girls involved in the typical problems of this stage of life, through their own fault or as if pushed, by circumstances, by wrong decisions, dubious companies or all this stuffed up. Many of these films are free or totally inspired by books that make the publishing market party from time to time, turning a wheel whose help is essential so that the economy does not stop moving, even without times of stagnation. Whether you like the genre or not, give it a truly artistic character or go on the attack, accusing the supposed pedagogical pretensions that may be behind these stories, the fact is that films aimed at reflecting aspirations and fears of the world population aged between thirteen and nineteen, about a billion people, constitute a market by themselves, and nobody ignores it, least of all the studios, which find in this niche a loyal audience, which has started to enter the world of work at an earlier age and with more formal qualifications.

Brandon Camp is able to communicate with this viewer like few others. Understanding the pains and delights of a spoiled girl in “Amor e Gelato” (2022), the director slowly expands the horizon of his story, while seeing in the background what he really wants to say. No one in their right mind can overlook the evidence that some good shots of historic landscapes and monuments are needed — in this case, the always derisively clear sky of Italy, from which the light emanates in the precise golden tone that bathes the Coliseum and the Piazza Navona in the summer — in order to make an essentially simple script work — but Camp knows how to imbue his work with something more than just beauty, as much as his text, derived from the book of the same name by Jenna Evans Welch, appeals to proven aesthetics. hypnotic of Italian locations. A draw for diverse audiences, exogenous and even refractory to this format, the beautiful settings have exactly this function in the plot and never get to overshadow what is intended to be worthy of being narrated.

Lina is American, but even against the grain, she has close ties with Italy, which she doesn’t know. Her trip to the country takes place under the worst pretext: her mother, whose image never comes to the screen, not even in flashback, dies of cancer and leaves her a diary, in which she confides that she wants the girl to go to Italy, first because she will be a unforgettable trip. If in fact she is, her second request is that she look for her biological father, who never wanted to know about her. Although one cannot demand too much from plots like this, it is necessary to point out these logical inconsistencies in the story, one more that reinforces the cliché that perpetuates adolescents as excessively fickle, immature individuals, vulnerable to all kinds of influence, from the living and from those who cannot. more to explain. Lina, played by Susanna Skaggs at a good time, is welcomed by her godmother, Francesca, by Valentina Lodovini, married to Howard, the great unrequited love of the protagonist’s mother, played by Owen McDonnell, an American living in Italy. From the meeting between Lina and Howard, other subplots take shape in the central axis of “Amor e Gelato”, such as the discovery of what she, dedicated to caring for her mother over the years, understands by love, which first meets the name of Alessandro, the somewhat reckless playboy incarnated by Saul Nanni; then by Lorenzo, Tobia De Angelis’ aspiring chef. The truth is Lina is too inexperienced and too confused to know who she should like, and stretching the reasoning a little, it can be said that she doesn’t even like herself. Even moving from Rome to Florence, where the man her mother had told her was her father lives, gives her the insights she so desperately needed, most importantly about Howard.

Comments from Welch readers with whom I exchanged impressions told me that the film is infinitely better than the book, opinions that I always take into account when it comes to analyzing films that are born from the pen sacramented by the merely written, immutable word, riddled with a dose. too much solemnity. There are always misunderstandings in books that the movies clear up, or improve, or just erase. Without having read the novel “Amor e Gelato” came from, I tend to agree with them. This is the fundamental magic of cinema.

Direction: love and gelato
Movie: Brandon Camp
Year: 2022
Genre: Comedy/Drama/Romance/Coming-of-age
Note: 8/10

About Hrishikesh Bhardwaj

Tv specialist. Falls down a lot. Typical troublemaker. Hipster-friendly advocate. Food fan.

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