Madly

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.

I found this movie incredibly tedious. This is like typical Italian comedy but at mid level and right only for 50+ year olders. Actors all act like in live theatre performance, the script is very dialogue heavy but dialogues often feels fake, plastic and without a real reason to be there. All the movie feel like a cheap version of inside out, obviously without the visuals that made that movie so good and popular. The actors are all great Italian movie performers but the script , in my opinion, just doesn't make justice to them.

This movie can be a success only in Italy... And honestly someone who acts like that at a dating and has all those thoughts inside... To me it felt fake, let's say it. Boring and fake, a gratuitous faking wit script.

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.

To be honest, I didn't expect much from this film. I went to the cinema more to please my wife, who thrives on soap operas, than out of real enthusiasm. All I knew was that it had been quite a box office hit in Italian cinemas, a commercial success. I'd seen the trailer and was expecting a typical romantic comedy riddled with clichés (the Italian kind, not the Hollywood kind).

And indeed, there are moments that flirt with convention, situations that strain believability, lines that echo familiar stereotypes, though the audience in the theater seemed to enjoy them. Yet I have to admit, I was drawn in by the way Genovese stages the inner voices that speak inside us, often arguing and contradicting one another, especially when we're trying to make a good impression on a first date and wonder if the person in front of us is the right one. Even the stereotypes felt real somehow, more like a representation of the masks we all have to wear.

Here the dinner doesn't take place in a restaurant but, at her initiative, in her own home, where she feels safer in her "nest." She's independent yet fragile. He's divorced, shares custody of his daughter, and still carries that mix of clumsiness and warmth that makes him quietly endearing. The story unfolds in a bourgeois corner of Rome, a setting both familiar and elegant, where romantic comedy meets a playful, almost Pirandellian reflection on the multiple identities living inside us.

We see the romantic side and the ironic, the instinctive and the fearful, the intellectual and the tender. Each facet of personality takes form in a living character. Two groups of inner guides watch and nudge the protagonists as they try to connect. Four male figures inhabit Piero's mind, four female counterparts animate Lara's. Their interplay gives the film a lively rhythm, as if a hidden chorus were commenting on every hesitation, every spark, every awkward silence between them. They also mirror the ways men and women think, sometimes different, sometimes surprisingly alike.

The tone remains so light that the outcome never seems in doubt, though a few detours and second thoughts threaten to undo a meeting that feels destined. The real pleasure lies less in the plot than in the device itself, the dissection of thought and instinct rendered with wit and theatrical flair.

The concept isn't entirely new. Genovese seems to borrow from Inside Out and from the idea that we're all inhabited by many selves. But he filters it through an Italian lens, where everyday psychology meets kitchen-table realism. Beneath the humor lies a gentle reminder that we all wear masks, that each of us is, to quote Pirandello, "one, no one, and a hundred thousand."

In the end, *Follemente* won me over. It's not my usual cup of tea, yet it turned out to be more than the formulaic sketch I feared. It's a witty and unexpectedly thoughtful film, very Roman in spirit, a portrait of modern, middle-class Rome that softens its neuroses with irony, good wine, and a love of life.