AMANDA -- A Simple Yet Effective Exploration of Introversion

Review by Sean Boelman

Carolina Cavalli’s feature debut Amanda played at both Venice and TIFF last year, where it picked up a great deal of critical acclaim. Although the film — the script in particular — suffers from some of the common issues of debuts, its subtle and nuanced approach to its characters is quite noteworthy.

The film follows a young woman who longs for connection as she sets out on a mission to convince her also reclusive childhood best friend that they are still best friends. In the hands of almost any other filmmaker, this premise would likely lend itself to a cringe comedy, but Cavalli has turned it into a much quieter type of character study.

Cavalli’s script doesn’t have anything particularly profound to say, focusing on emotion and feelings rather than any sort of deeper meaning. Thankfully, Cavalli also manages to avoid melodrama. Even when the beats start to lean into conventionality, the friendship (or lack thereof) is firmly at the center of the story and feels entirely genuine.

The first act of the film is entertaining, as the protagonist drifts from situation to situation trying to form a connection. However, after the film’s title card around the 24-minute mark, it starts to feel a lot more monotonous. It becomes a sort of slice-of-life film following people who are isolated, which is about as riveting as it sounds.

For those viewers who are introverted, the protagonist’s desire to find connection yet apparent inability to achieve it. Cavalli has succeeded in creating characters that feel entirely realistic and uncommonly nuanced. Introversion is often portrayed as either shyness or awkwardness, but Cavalli effectively captures the deeper feelings that go along with this personality type.

The strongest part of the film is its performances, particularly from lead Benedetta Porcaroli. Porcaroli manages to perfectly capture the balance between deadpan humor and authenticity for the film’s oddball sense to work. In her supporting performance, Giovanna Mezzogiorno is also notable — outperforming the actress who plays her daughter, almost fittingly given that the protagonist gets along with adults better than people her own age.

The film also boasts some impressive visuals, thanks to cinematographer Lorenzo Levrini. Cavalli’s visual style in her directorial debut might not be particularly original, but it is effective. There’s an undeniable warmth to the film’s aesthetics, which creates an interesting sense of juxtaposition with its purposefully cold and stiff dialogue. 

Amanda might be a bit lacking in the substance department, but filmmaker Carolina Cavalli’s command of aesthetics and characterization allow it to work. Cavalli’s even better second feature as a writer (which has already played at several festivals), Fremont, proves that she’s already taken the opportunity to further develop herself and her craft.

Amanda hits theaters on July 7.

​Rating: 3/5