Name: Love & Gelato
Genre: Romance, Comedy, Drama
Released: 2022-06-22T00:00:00+00:00
Cast: Susanna Skaggs, Tobia De Angelis, Owen McDonnell, Valentina Lodovini, Saul Nanni

The opening scene of Love & Gelato (2022) sets a tone that’s equal parts whimsy and melancholy: 17-year-old Lina Emerson (Susanna Skaggs), fresh from her mother’s funeral, steps off a plane in Rome with a diary clutched in her hands. The film, directed by Brandon Camp and based on Jenna Evans Welch’s bestselling YA novel, is a romantic comedy-drama that follows Lina as she navigates grief, love, and self-discovery through the streets of Italy. It’s a premise ripe for sentimentality, but Love & Gelato largely resists the worst clichés of its genre.

What works best about this adaptation are the moments where it leans into its setting. The cinematography captures Rome’s beauty—sun-dappled piazzas, crumbling frescoes, and bustling gelaterias—with an eye for detail that feels authentically lived-in rather than postcard-perfect. The film’s production design deserves credit for its authenticity, from the cozy apartment Lina stays in to the hidden bakery where Lorenzo (Tobia De Angelis) takes her for pastries. These scenes ground the story in a way that makes Lina’s emotional journey feel tangible.

The performances are another bright spot. Skaggs brings a quiet intensity to Lina, making her awkwardness and reluctance to engage with others feel genuine rather than forced. She’s particularly compelling in moments of vulnerability, like when she confronts Alessandro “Ale” (Saul Nanni) about his dishonesty or when she discovers the truth about her biological father. De Angelis as Lorenzo is charming but underutilized; his chemistry with Skaggs is palpable, yet their relationship never gets the depth it deserves.

The film’s biggest misstep is its pacing. The first act moves slowly, bogged down by exposition and setup. While Lina’s grief is understandable, her initial reluctance to engage with anyone—even in a city as vibrant as Rome—makes her feel more passive than introspective. The romance with Ale, while fun in the moment (especially their playful chase through an opera house), ultimately lacks emotional weight. His betrayal feels predictable rather than devastating.

The film also struggles with its tonal balance. It wants to be both a lighthearted romp and a deep exploration of grief and family secrets. While Welch’s novel may have pulled off this duality, the film version often feels torn between the two. The comedy lands best in smaller moments—like Lina’s disastrous attempt at walking in heels or Lorenzo’s deadpan reactions—but the dramatic beats sometimes fall flat.

That said, Love & Gelato does find its footing in its final act. The revelation about Lina’s biological father and her journey to Florence add urgency and emotional stakes. The scene where she confronts Howard (Owen McDonnell) is particularly well-acted, with Skaggs and McDonnell both delivering raw, unfiltered performances.

In the end, Love & Gelato is a film that’s easy to enjoy but hard to remember. It’s visually pleasing, well-acted in places, and genuinely sweet at times—but it never quite rises above its genre tropes or fully commits to its emotional core. For fans of YA romances or lighthearted coming-of-age stories, it might hit the spot.

Tags: romance, Brandon Camp, Love & Gelato, Owen McDonnell, Susanna Skaggs, Tobia De Angelis