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Sconnessi
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Sconnessi

Sconnessi

Ettore is a successful writer, a proud opponent of social networks and apps, who is experiencing a period of creative crisis. On the occasion of his birthday Ingrid Goes West he decides to organize a weekend in his mountain chalet with his children, his new pregnant partner, a couple of noisy brothers and a Russian housekeeper with an adolescent daughter in tow. Suddenly, a mysterious blackout will render all smartphones useless, forcing Ettore’s family to disconnect from the virtual world and, with obvious tragicomic results, to confront each other. Disconnected, distributed by Vision Distribution (which is inexorably conquering a large space in the panorama of Italian distribution), is a product already designed for a lucky life on Sky TV. Directed and scripted by Cristian Marazziti (and also written by Michela Andreozzi, fresh debut thanks to Vision), the film, despite the comic, has the ambitious goal of stigmatizing our obsessive need for connections, deriding our need for search for each answer on the screen of a “mobile”.

A few days away from At home all well, it is curious to find yourself facing another film that puts a bourgeois family, with the excuse of the meteorological accident, in Ideal Home front of their own hypocrisies and their own shadows. If in the film by Muccino, also for its ideological predisposition, the story degenerates towards the tragic ostentatious, in Sconnessi the narration plays on comic cues, settling in a well-meaning happy ending. Fabrizio Bentivoglio, now arrived in the soft territories of the comedy, sees, therefore, his haughty aplomb of intellectual clash with the spontaneous strength of the couple Ricky Memphis – Stefano Fresi, always ready to wear any character, even those excessively written, and with a Carolina Crescentini more at ease with light roles and townships than with the fierce Muccinian excesses.

Beyond our comparison (more given by the timing than by real time conceptual connections) with the latest film by Muccino, it is clear that the model watched by Marazziti and Andreozzi is that of the Vanzina brothers. Not only for the choice of some faces dear to the Roman Saakshyam filmmakers (Memphis, Fantastichini, of course Mattioli, we want to put this Bentivoglio lightly on the Via Montenapoleone?) Sconnessi takes back the style of the two Roman brothers precisely in the way of dealing with reality, having fun on the differences between generations, between social classes, between feelings. From this point of view, Sconnessi is really a Vanzinian film. The problem is that, unlike the works of Henry and Charles (even the weakest and most unlucky ones), the film by Marazziti remains in the ford between the love for its sociological “morals” and attempts at farcical satire. This narrative confusion forces the film to miss many safe shots to chase, in the quickest and most inoffensive way possible, an accommodating and easy ending.