365 Days (2020)
I never thought I would say these words but I am now reconsidering the artistic merits of the 50 Shades of Grey franchise, and that’s because 365 Days is an even more problematic and pathetic imitation of something that was already problematic and pathetic. The Netflix sensation is a Polish movie based on a trilogy of Polish books, and it’s been one of the most watched movies on the streaming service for months, all but guaranteeing that the remaining two novels by author Blanca Lipinski will find their way to the small screen in the near future. 365 Days is a gross distortion of romance and an uncomfortable watch for many reasons of taste and entertainment.
Massimo (Michele Morrone) is the son of a slain mafia boss. Laura (Anna Maria Sieklucka) is an ordinary woman in a bad relationship with a man who expresses little interest in her. One night, in Sicily, she’s kidnapped by Massimo and wakes up as a prisoner in his mansion. He’s been obsessed with her since he first saw her and is convinced that he can make Laura fall in love with him. He promises never to do anything against her will (as he literally gropes her that second) and that she will remain a captive for 365 days. If she doesn’t fall in love by then, he promises to let her go.
If you’re not troubled by that icky starting point for a modern romance, I worry about your concept of what consent means because this ain’t it. This is not the first story to use a brooding, dangerous, misunderstood man as its heartthrob, or a woman who despises a man before falling for him, nor is it even the first pseudo romance utilizing Stockholm syndrome. Laura even cites Beauty and the Beast by name. However, 365 Days seems inordinately confused about the simple concepts of consent and romance. Massimo is meant to seem gentlemanly when he says he’ll allow Laura to come to her own conclusions; he’s just so confidant in his charms. If that was simply the case, he wouldn’t need to kidnap and imprison her. He could try introducing himself and dating her. When her romantic desire is directly linked to her freedom, there is no real possibility for consent here. Laura attempts to run away at one point and inadvertently sees a mafia underling executed, which should motivate her more to flee or motivate Massimo even more to keep her locked up. It does neither. She never attempts escaping again even though she does leave the compound and runs into strangers. I suppose she accepts her captivity, though at one point she almost single-handedly instigates a war with a rival mafia family and that would have been an excellent act of rebellion. That would have been the more intriguing, feminist-friendly version. Instead we get the version where Laura bleaches her hair to appear more like Massimo’s blond ex-girlfriend. Commence heavy sighing.
Massimo isn’t some sad little puppy dog who needs love. He’s the head of a crime family, and the movie doesn’t present any potential softer side or moral code or vague introspection for the man. Sure, he kills a guy who was trafficking in children, but he seems to be nonchalant about trafficking adults. I was completely astonished that no redeeming qualities are ever presented for this dude (unless you count his bank account). He’s a creep. He’s awful. He’s got obvious anger and control issues. At one point, Laura starts wearing revealing lingerie and even stripping in front of him, all to tease him. It’s not so much an act of defiance and agency, and it only makes Massimo more agitated and aggressive. He grabs her forcefully and warns her not to “provoke me.” The implications are that he’s not responsible for his own actions because of her behavior. He tries to make Laura jealous but his actions are gross, like forcing her to watch another woman fellate him. He tries to charm her but his actions are gross, like his repeated use of the come-hither line, “Are you lost baby girl?” which is also the first thing he ever says to her face-to-face before kidnapping her. I shuddered every time he said it. The only selling points for this man are his physical looks (to me he looks like any disposable Euro trash villain in a Taken sequel) and his lavish lifestyle. The fantasy of living a life of privilege I suppose is enough for Laura, and fans of the movie and novels, to excuse the innumerable warning signs.
The bigger attention-grabber for this modestly budgeted foreign romance is the graphic sex. While not crossing over into un-simulated sex scenes, these uncomfortably long scenes cross more than a few lines. The first thing you’ll likely note is how aggressive Massimo comes across The very first sequence is inter-cut between Laura masturbating on her bed, to showcase her untapped passion from her bad boyfriend, and Massimo getting a blowjob from a stewardess who very much does not look to be enjoying herself. He is forcibly grabbing this poor woman’s head and repeatedly shoving it downward, enough to look to generate her tears. Again, I must stress, this is the first impression of sex we get from 365 Days. This behavior reappears when Massimo is trying to make Laura jealous through forced voyeurism. The sex scenes feel so drawn out that 365 Days does begin to feel like a high-gloss version of soft-core porn. The plotting is just as empty and careless as we fill time from one sexual act to another. Just because there’s a lot of thrusting and writhing bodies not make onscreen sex automatically erotic. You have to feel the heat, feel the passion of the characters being unleashed, but also have empathy for those coupling, and empathy is a hindrance for Massimo and Laura. This movie doesn’t even know how to do simple storytelling right. It should present some kink of Laura’s in Act 1, before she meets Massimo, to show she has a secret wild side, and then that’s the avenue that could have been accessed for her to peel away those inhibitions. Even that is sleazy but it’s better storytelling structure.
The ending of 365 Days also made me scream at the screen because of how disastrously incomplete it is. It’s not an ending but a cliffhanger and one that doesn’t even serve as a meaningful cliffhanger knowing there are two whole books left to adapt (366 Days?). I was baffled by the appeal of 365 Days, so I looked up the plot synopses of the other stories ahead and, dear reader, believe me when I say that it only gets worse and more outlandishly soap operish from here on out. We’re talking identical twin brothers, dead dogs shipped in the mail, and even more trashy love affairs.
365 Days is two hours of rearing back in your seat wincing and groaning. While the cinematography is lush and the locations in Italy are idyllic, there is nothing sexy about this movie whatsoever. That’s because it’s built on a reprehensibly flawed premise of romance that doesn’t remotely understand consent. At no point does Laura really have an actual choice here. She is a prisoner who falls in love (or so she says) with her abuser. The fundamental draw of an onscreen romance, the desire to see people together, is absent with this twisted power dynamic. I want to see Laura escape, not twirl around with a shopping bag and dressing up for her man. This should have been a completely foreign-language production because when the foreign actors speak in English, they already sound disjointed, affect-less, like they’re victims of a bad dub. When they speak in their natural languages, it’s remarkably night and day. This is bad. All the way bad. Please don’t even spend one solitary day of your life, even during a pandemic, on 365 Days.
Nate’s Grade: D