Another 365 Days (2022) | Review

For the third and last time… No! By far the most surprising thing about the third film in the appalling 365 Days series is the sad fact that we will most likely see another sequel. The exploitative literary masterpiece by the Polish beautician Blanka Lipińska was enough with three parts, and it seemed that the film adaptations, which have so far copied even the names of the individual parts, will follow this scheme. However, the unexpected success of the first film, which broke the viewership numbers on Netflix in the summer of 2020, convinced the creators not only to quickly shoot the second and third films at the same time, but also to leave the ending open, which invites more hours of shallow dialogues, broken English, sloppy intercourse and shiny boredom.

That’s why the trio appears on Netflix only four months after the second part, and thus much before the film gourmands had time to recover from the previous tragic experience. TedGeorge rightly gave it an unflattering 1/10 in his review a few months ago, and with a three being even worse, it’s a shame our scale doesn’t allow for a lower rating. Eva Toulová, Marta Ferencová and Zita Marinovová thus found in the Polish lechers Barbara Białowąs and Tomasz Mandes able competition on the film floor.

The undisguised 50 Shades of Gray rip-off isn’t really trying to do anything this time. The duo was laughed at for the soap opera twists and absurd subplots, but now they have resigned themselves to that as well. The main character, Laura, is still part of (literally) an Italian marriage to the mobster Massimo, and Nacho, the good-natured vulture-faced surfer, returns to the scene. Laura thus finds herself in a desperately twisted love triangle that leads nowhere at all. The poor girl even has to work to forget her relationship woes!

Again, the sex scenes are rather dull and their interchangeability is broken only twice. One time there is a strangely aggressive orgy with the necessary leather mask on the head, and the second time the wildest fantasies of the heroine come true and both saps in love succumb to passion. Brrr. Not only in this case, it is confirmed that something is supposed to look sexy, but the result is rather creepy and often beyond the border of self-parody.

More than in the previous films, the story is trodden on the spot, so the directors increasingly resort to a collage show of photogenic Sicilian locations or stroboscopic bars. There is an almost constant intruding sound and as the tens of minutes progress, the film’s muddiness becomes more and more annoying. Even before the viewer discovers that the hidden intention of the film is not to conclude anything, the thoughts begin to arise that there is no need to conclude anything in this series – the really interesting story never even started.

“You can run away from me, but you can’t run away from your feelings,” slimy Nacho encourages Laura to choose him over similarly slimy Massimo. The only character who is at least occasionally lucid is Laura’s Polish friend Olga, about whose surprisingly functioning romance with another mobster we learn almost nothing, and who is Laura’s elemental support during her relationship troubles. However, this does not change the fact that we once again find ourselves in an environment not only of toxic masculinity, but of toxic relationships in general – laws (far from only moral) are being transgressed without hesitation, and it is truly a mystery to me how such a large number of viewers can find this relationally unpleasant work for relaxing comfort.

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What to add? Perhaps the highlight of the film was probably the long shot, during which the characters move from the ground floor to the roof terrace. The camera follows them carefully, but the longer the heroes have fun with each other, the less the dialogue makes sense. The scene goes nowhere and ends with a passionate scream into the void. This is what an instant classic looks like!


The article is in Czech

Tags: Days Review

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