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Rating: “A strong alpha male who always knows what he wants and fulfills all your sexual fantasies. Plus, he is six foot three, doesn’t have an ounce of fat on his body and was crafted by God”.
The missing link between Fabrizio Corona and the Dolce and Gabbana underwear model is among us. His name is Don Massimo Torricelli, he lives in a sort of Alcazar under Mount Etna and travels the world in his private jet. With half a glance, he reduces a woman to total submission, with a full glance she’s already unbuttoned his pants. He’s a mafia boss, but in today’s language, he’s a businessman. Business-man.
Her name is Laura and she comes from Warsaw. She’s beautiful, sophisticated, demanding. In society, she’s a ruthless top manager, in private, she’s stuck with a ball-and-chain boyfriend who’s fat, crude, and incapable of satisfying her. In bed.
It happens that Massimo sees Laura and wants her, at any cost.
Have you lost your way, doll?
He kidnaps her. But why Massimo wants Laura and kidnaps her, can’t be said. He’ll tell you, in due time. And it will shock you.
So far, the plot. And to keep it standing for more than an hour of film (more or less, until the first real sex scene) the effort must have been superhuman. Thus, one director wasn’t enough to support it. With two, the effort was more tolerable.
Everything is born (and dies) with the trilogy of bestsellers by Blanka Lipinska, a Polish fitness influencer with a degree in cosmetology. A trilogy as yet unpublished here, but only for now. The inspiration was a holiday in Sicilian land, and the timeless fascination of the Latin male did the rest.
All the premises are there to mention 50 Shades and the endless degradation of glossy erotica. But it’s right there, that 365 Days surprises you. Because beyond the obvious and inevitable influences, the movie dispenses (at will) surprising neomelodic music video atmospheres and, more generally, that breath-taking thrill typical of the last episode of Temptation Island. With intentionally minimal dialogues and acting that owes much to Costantino Vitagliano’s performance in Lory Del Santo’s seminal The Lady.
As in every music video worth its name, iconic moments are not lacking: wild shopping with thong try-ons, the yacht, the ice cream in Rome (with a fior di latte flavor?) dripping from her mouth, a TANGO in a villa worthy of a Campari commercial.
Accompanied constantly by a purebred MTV pop soundtrack, halfway between Ed Sheeran and Imagine Dragons (but it’s neither Ed Sheeran nor Imagine Dragons).
Some songs are even performed by Torricelli himself, who is dubbed in the film. Including one with 37 million YouTube views and 18 on Spotify.
Weightier details – in the economy of the work – than any subsequent discussions on the romanticization of the mafia and the mortification of the female figure. Which, I assure you, after two hours of the film you’ll have no desire to start.
365 Days is also the physiological time to forget it, but you won’t have the chance. Because by then the sequel will have already arrived.
Wasn’t it said to be a trilogy, after all? So, prepare yourselves.
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