The love stories troubled have always been one of the major fuels of cinema. Whether it is cinema of reflection, whether it is entertainment cinema, these, over the centuries, have always been treated, interpreted and written, to try to analyze and reason not only on the condition of the couple, but on the human condition true and proper, on his place within existence, on his bond and as well as on his relationship with his neighbor, followed by all the necessary implications of the case. In our review of Blackout Lovis we want to specify that this film, currently present in the catalog of Amazon Prime Video, is not at all outdone, even if many of its developments could easily be read as too simple or predictable, in some situations, resulting in the finished speech as another piece very similar to others, which entertain themselves, but which at the same time they never really dare in terms of plot.
At the center of it we find Valeria (Anna Foglietta), an extremely classic character in her pose, a woman who, following a great suffering in love, fills her life with moments of transient sex, basing around her an apparent impenetrable armor that still conceals a fragility inside with a clear but still muffled voice. In a review by Blackout Love, of course, one cannot fail to mention the psychological implications of a character who plays all of herself in this sector. Also because Valeria, despite being a strong and independent woman from the very first sequence, actually hides an emotional complexity within herself that will be pitted, very slowly, throughout the entire film, showing more sides of herself and characteristics than what don’t expect it.
In the moment in which we make her acquaintance it is she who presents herself, in a certain way, hiding what is every actual reality of his life and emotional perception. Everything changes when he finds himself inside the house Marco (Alessandro Tedeschi), the great ex, the one who by leaving her made her what she is, the main proponent of hers “Black evolution”, of his current relationship “disposable” with men. With Marco all the disturbances of the case arrive, and the latter is not at all aware of the fact that for a year the two have left and have not spoken. The Blackout of the title is partly that too, it plays, evolves and revolves around the fact that this guy has had an accident forgetting the events surrounding the separation with Valeria.
This is the main narrative pretext of Blackout Love. Valentina, following the advice of a doctor, will have to reluctantly to pretend to be with this ex again while waiting for him to buy back memory, in order to avoid a major psychotic breakdown. It will be, at least for her, the perfect opportunity to try to rewrite her past as she wants, perhaps taking revenge on what Marco made her go through.
Define at the level of kind Blackout Love it is not very easy, also because in the course of the whole narration it constantly oscillates between the psychological drama, the comedy, and the sentimental. The narrative pretext of vanished memory offers various ideas well used not only for entertainment purposes, but above all as an in-depth study of the various characters, Lightening a lot of some even subjective pretexts, without however ever losing sight of the writing of each in terms of consistency, even if with some smudges especially towards the end.
The greatest merit of the film is perhaps precisely this, that of using a series of tools narratives not only to carry on what happens on the screen, but also to talk about the protagonists themselves who show themselves slowly, without too much rushing, experiencing some culminating phases then in the final. Overall, the thematic work is not bad either, thanks above all to the acting performance of the Foglietta (Actress who also distinguished herself last year by winning the award for best actress in a comedy film at the Nastri d’Argento 2020), who drag literally forward the narrative with an emotional verve that cancels any other smallness of the case, laying the foundations for a credible protagonist, problematic, fragile and at the same time human, imperfect, broken in two. The term Blackout is also linked and perhaps mainly to his character and to everything that will live in the course of history.
From a formal point of view Francesca Marino, the director, does a good job, alternating moments full of a figurative intimism important, thus focusing the camera mainly on the actors, on their faces, on their bodies and on the emotions that pass through them, while moving through some fields that are geometrically eloquent and clean, to others rather detached, studied and quite classics in their composition. As a whole, a film that is not exaggeratedly original comes out, but still interesting for some of its ideas, a small one human epic and emotional that perhaps he would need some more madness, still managing to support himself on his legs until the end. An agglomeration of images that takes the past and present of this couple and plays a minino on them, inspiring important reflections, with also a certain type of reference to a cinema of memory and memories of love.