If there is today a category of people easy to pale, like politicians, that category are influencers. Because a part of society makes them such, the other part despises them. It must be said that in recent years the term ‘influencer’ has probably become too narrow and generic to describe an increasingly stratified social ecosystem, within which there are also content creators, activists, disseminates. “Dedalus” does not mind subtlet and agrees everything in a great cauldron in the smell of hyperbole.

The film directed by Gianluca Manzetti, his second work to be released at the cinema on July 10, takes the pile of this world made of screens and sparkles and stands it in front of a mirror: that you are willing to do for one million euros and a few hundred more followers? An already old question how old social networks are, but which continues to be easy fuel for reflections between the invective and indignation.

There were once you are influencers …

At the center of the perfect storm are they, the influencers. There are six (Luka Zunic, Matilde Gioli, Francesco Russo, Giulio Beranek, Giulia Elettra Gorietti, Stella Peccollo) and represent a sample of what is the major. Food, fitness, family influencers, nude models, ballets and cazzeggio. Then there is also a footballer (Zunic) with his career almost finished due to a serious injury, pulled in the middle by his cousin (Russian) to participate in a mysterious reality contest on New Year’s Eve.

Accustomed to living between photos, direct and stories, they are locked up in a castle without their smartphones. This time they will be watched, but they will not have control over what they will end as protagonists. The aim is to take and pass three tests of which they are held in the dark. And here Dedalus starts very slow, takes a good portion of time of his poor hour and a half to present characters who, however, remain within the boundaries of character, of the archetype to be identified as disgusting and therefore immediately to point out.

To move the ranks is a host in Dolcevita (Gian Marco Tognazzi), who enters and leaves the scene with the air of a deus ex machina that knows it long and with a purpose to be pursued. But the times with which it appears are calibrated almost on the involuntary sparkling, always surrounded by collaborators, butlers and uscieri with flannel coppole that really screened with the air of mystery and tension to which a similar film would like at least one hair aspiring.

Few ideas and not brilliant writing

By understanding the address above the lines chased by Dedalus, it is not that it is then asked to make sense to the end or to respect who knows what verisimilitude and accuracy. But at least a semblance of internal logic yes, of consistency in the behavior of characters instead managed very badly and spastic in the moods and ways in which they relate to each other. An instant first profess themselves horrified by what is happening – they are in fact victims of brutal and violent tests. The next instant, however, agree to continue in the game at the massacre.

This criticism of the idiocy Sadomasochist and individualistic of the Homo Social? No, only bad writing. The problem of the film is the messy screenplay by Vincenzo Alfieri, Nicola Barnaba, Roberto Cipullo and Francesco Maria Dominedò, a counterpart of clichés and joints without rhythm. Although at the bottom of the story there is actually a discreet starting point by Revenge Movie, a revenge with care with care and then slowly administered. With a lot of progressive revelation of a profound human indecency, well beyond that already unacceptable of the facade.

A narrative capital placed only in power, which disperses even before starting the nature accentuated by gender work and thus ends up dripping in a note of moralism with good consumption. Manzetti does what he can (not bad a sequence in the darkness of a nightmare with open eyes), but nothing saves the yawn and a shrug about the shrewd.

Rating: 4.5

https://www.youtube.com/watch?v=C07G2_GYCPW