Under the Amalfi Sun: A Gorgeous But Shallow Romantic Postcard

The opening shot of Under the Amalfi Sun lingers on the turquoise waters and pastel cliffs of the Amalfi Coast, a visual feast that promises romance and charm. But this sequel to 2020’s Under the Riccione Sun, directed by Martina Pastori, quickly reveals itself as a hollow postcard—beautiful to look at but lacking substance.

Pastori’s film picks up a year after Vincenzo (Lorenzo Zurzolo) and Camilla (Ludovica Martino) first met in Riccione. Now, they’re reuniting for a vacation in Vincenzo’s family home on the Amalfi Coast, surrounded by his eccentric relatives and friends. The setting is undeniably stunning, with sweeping shots of the coastline and charming village life providing a picturesque backdrop. The ensemble cast brings energy to the screen, particularly Isabella Ferrari as Vincenzo’s mother Irene, whose warm yet meddling presence adds some much-needed humor.

The film’s premise is simple: a young couple navigating the complexities of love against a breathtaking Italian landscape. However, Under the Amalfi Sun struggles to translate its picturesque setting into a compelling narrative. The script, co-written by Caterina Salvadori and Enrico Vanzina, relies too heavily on clichés—misunderstandings, slapstick mishaps, and predictable plot twists—that fail to elevate the material beyond a superficial level.

Lorenzo Zurzolo delivers a commendable performance as Vincenzo, bringing a boyish charm and sincerity to the role. His chemistry with Ludovica Martino, however, feels strained in this sequel. Martino’s Camilla comes across as more irritable than endearing, and their romantic tension lacks credibility. The film’s attempt to recreate the magic of their first meeting falls flat, leaving viewers with a sense of disconnect.

The supporting cast fares better. Isabella Ferrari shines as Irene, Vincenzo’s mother, whose meddling antics provide some of the film’s most genuine laughs. Her performance adds depth to the otherwise one-dimensional family dynamics. Luca Ward as Lucio and Davide Calgaro as Furio add to the comedic dynamic, but their characters feel underdeveloped. Kyshan Wilson as Nathalie and Nicolas Maupas as Hans serve as little more than background players, their storylines feeling tacked on rather than integrated.

Pastori’s direction is competent but uninspired. She captures the beauty of the Amalfi Coast with a keen eye for detail, but her handling of the romantic and comedic elements is lacking. The film’s pacing is uneven, with subplots that go nowhere and characters who serve little purpose other than to populate the scenic backdrop. The cinematography is undoubtedly one of the film’s strengths, with vibrant colors and sweeping landscapes that make it a feast for the eyes.

Thematically, Under the Amalfi Sun explores the challenges of maintaining a long-distance relationship and the pressures of family expectations. However, these themes are superficially treated, never delving deep enough to resonate emotionally. The film’s focus on visual spectacle over substantive storytelling leaves its messages feeling hollow.

Comparing this sequel to the original Under the Riccione Sun, it becomes clear that Under the Amalfi Sun is a step backward. The chemistry between the leads, which was one of the highlights of the first film, feels strained here. The script lacks the wit and charm of its predecessor, relying instead on tired tropes and predictable plot developments.

The film’s target audience appears to be fans of lighthearted romantic comedies who prioritize visual appeal over narrative depth. Those looking for a more substantial exploration of love and relationships will likely find Under the Amalfi Sun disappointing. It’s a film that prioritizes aesthetics over substance, resulting in a shallow experience that fails to engage on an emotional level.

In terms of performances, Lorenzo Zurzolo stands out as Vincenzo, bringing a likable energy to the role. His portrayal of a young man torn between his love for Camilla and his family obligations is the film’s emotional anchor. Ludovica Martino, however, struggles to recreate the charm she brought to her role in Under the Riccione Sun. Her performance here feels flat, lacking the spark that made her character endearing in the first film.

Isabella Ferrari’s portrayal of Irene is a highlight, providing much-needed humor and warmth. Her scenes with Zurzolo are some of the film’s most engaging, offering a glimpse of the potential the story could have had with stronger writing. Luca Ward and Davide Calgaro also deliver solid performances, but their characters are underdeveloped, leaving them with little to do beyond providing comedic relief.

The supporting cast, including Kyshan Wilson as Nathalie and Nicolas Maupas as Hans, feel like afterthoughts. Their storylines add nothing substantial to the narrative, serving only as background noise in an already crowded film. Elena Funari’s Rebecca and Davide Calgaro’s Furio have brief moments of interest but are ultimately forgettable.

Pastori’s direction is visually appealing but narratively weak. Her use of the Amalfi Coast’s stunning landscapes is undeniable, with each frame a postcard-worthy image. However, her inability to translate this visual beauty into a compelling story is a significant flaw. The film’s pacing is uneven, with long stretches of filler material that serve no purpose other than to extend the runtime.

The cinematography is one of the film’s strongest aspects, with vibrant colors and sweeping landscapes that make it a feast for the eyes. The camera work captures the essence of the Amalfi Coast, from its turquoise waters to its pastel cliffs, creating a visual experience that is undeniably beautiful. However, this focus on aesthetics comes at the expense of narrative depth, leaving viewers with a shallow and unfulfilling story.

The film’s score complements its visual beauty, with a soundtrack that enhances the romantic and comedic elements. The music is well-chosen, adding to the overall atmosphere of the film. However, like the cinematography, it serves as a distraction from the narrative weaknesses, masking the lack of substance with superficial appeal.

Verdict: Under the Amalfi Sun is a visually appealing but ultimately forgettable romance. It’s a film that prioritizes aesthetics over substance, resulting in a shallow experience that fails to engage on an emotional level. While the performances by Lorenzo Zurzolo and Isabella Ferrari are commendable, the script’s reliance on clichés and predictable plot developments leaves much to be desired.