Tapping into our cell phone-obsessed zeitgeist and harnessing marital disputes for incendiary plot twists, Italian director Paolo Genovese (and a team of four other writers) unleashed an international craze in 2016 with their wildly profitable and easily adaptable dramedy “Perfetti sconosciuti.”
Genovese’s feature — about a group of secretive friends (three couples and a single man) having dinner who test their trust in each other by agreeing to place their devices on the table and answering all text messages, phone calls, and other notifications out loud for everyone to hear — has been adapted in multiple nations around the world, from South Korea to Turkey, with Spanish auteur Alex de la Iglesia’s 2017 version being one of the more notable iterations.
Now, the phenomenon arrives in Latin America, guided by one of the region’s directors who is most up to the task of remaking a tale about upper-class relationships in decay: Manolo Caro.
Genovese’s feature — about a group of secretive friends (three couples and a single man) having dinner who test their trust in each other by agreeing to place their devices on the table and answering all text messages, phone calls, and other notifications out loud for everyone to hear — has been adapted in multiple nations around the world, from South Korea to Turkey, with Spanish auteur Alex de la Iglesia’s 2017 version being one of the more notable iterations.
Now, the phenomenon arrives in Latin America, guided by one of the region’s directors who is most up to the task of remaking a tale about upper-class relationships in decay: Manolo Caro.
- 1/9/2019
- by Carlos Aguilar
- The Wrap
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