Simone Godano figured the personality swap idea could stand another go round as her first movie MOGLIE E MARITO / WIFE & HUSBAND. I wasn't so sure. To start with macho Pierfrancesco Favino (SUBURRA) and elegant Kasia Smutniak (PERFETTI SCONOSCIUTI / PERFECT STARNGERS) seem unlikely contenders for a gender reverse but that's the thing that drives the film. Inner Favino having to come to terms with kissing outer Favino with three days growth of beard is in the same dodgy area as Hal Roach's vintage TURNAROUND but they embrace the possibilities and the leads enjoying making out is one of the funniest parts of the film.
He's a scientist trying to produce a machine which will transfer memories from one individual to another and she's a sleek wannabe TV personality. Their marriage is on the rocks when his machine swaps them over. There is the now familiar uneasy comedy of her acting butch and him fluttery but they do manage to get laughs of inner Pierfrancisco sitting with legs apart revealing his panties on her TV show and moving into Valerio Aprea's flat while Kasia is outraged that he is putting junk food into her trim body and letting the baby breast feed after she had weaned it.
The piece gains a bit more traction when the pair have to use their old skill sets to sort out the problems they have caused but the ending when both have to articulate what they'll miss if the transfer is reversed is actually quite touching.
Best glossy European production values put the characters into plausible home, laboratory and TV industry settings. Intriguing to consider what the first female director in this cycle does differently.
He's a scientist trying to produce a machine which will transfer memories from one individual to another and she's a sleek wannabe TV personality. Their marriage is on the rocks when his machine swaps them over. There is the now familiar uneasy comedy of her acting butch and him fluttery but they do manage to get laughs of inner Pierfrancisco sitting with legs apart revealing his panties on her TV show and moving into Valerio Aprea's flat while Kasia is outraged that he is putting junk food into her trim body and letting the baby breast feed after she had weaned it.
The piece gains a bit more traction when the pair have to use their old skill sets to sort out the problems they have caused but the ending when both have to articulate what they'll miss if the transfer is reversed is actually quite touching.
Best glossy European production values put the characters into plausible home, laboratory and TV industry settings. Intriguing to consider what the first female director in this cycle does differently.