sorry for the mistakes
The next 365 days
The original title is 'The Next 365 days' but no doubt the Italian
one sounds better, with that 'others' sounding more like a threat.
The third chapter of the saga based on the Blanka Lipinska books,
released in August on Netflix, leaves behind its poor man's '50 Shades'
look to become a romance novel à la Liala, the well-known
Italian writer of the last century and icon of high-class love stories.
I wonder if she would have liked a character like Massimo Torricelli,
played by the usual Michele Morrone, always pissed off with an
unbuttoned shirt and struggling with shady business dealings that we
know nothing about, although it emerges that he has numerous
investments in the restaurant business. Like a Sicilian Bastianich. Or,
go and see what he would think of Olga, Magdalena Lamparska, a
tamarrish Polish woman who towers over the protagonist, Laura, Anna
Maria Sieklucka, in height and effervescence, always algid and
struggling with the patches of love.
Added to this already very likeable trio, which shatters the eardrums,
and not only those, of the spectators and shows as always tits and
asses (male and female) is Marcello Matos, known as 'Nacho', whom we
already met in the previous film in which Laura dreamt of him in bed
And he is the spark that makes the story explode (so to speak). A
gardener, but a surfer in his spare time, or vice versa, he has never
been forgotten by the algid Polish woman and returns to the attack,
shaking the relationship between Laura and Massimo.
The latter naturally gets pissed off, but as he is always pissed off,
you can't tell the difference. Laura, on the other hand, locks herself
in a tormented inner relationship, but being algid one cannot see the
However, let us go in order. Tormented by memories and the wound that
closes the second film, she distances herself from her Maximus, flees
to Portugal with Olga, with whom she presents a fashion line of some
kind, and there she meets Nachos.
What follows is the woman's attempt to figure out who her man is, with
Nacho trying hard to win her over for good and Massimo trying to get
her back, but strangely enough, since he is a mafioso (oops...gangster
as he likes to call himself) he does not kill his adversary in love.
It was honestly hard to do worse than the previous two films. In the
sense that here, at times, the two directors Barbara Bialowas and
Tomasz Mandes even try to set a tone, removing the blatant trashiness
of the previous two films. Of course they fail to do this and the
result is a clumsy and unwatchable sugary meatloaf.