Introduction
365 Days (365 Dni) is a Polish erotic thriller that became a viral sensation after its 2020 release. The film is directed by Barbara Białowąs and Tomasz Mandes, and it exploits the former’s trilogy of novels—one which she adapted into a screenplay. Blanka Lipińska is a serial Polish author who also wrote-screened the film. Bold, shocking, and somehow morally appealing, 365 Days became one of the most controversial films of the year when it was acquired by global streaming services.
Unlike Fifty Shades of Grey, which exploited misogynistic themes of soulless romance for women, 365 Days takes controversy to new heights by weaving together mafia-themed romance that begins with an abduction. Its premise, visual appeal, divisive narrative motifs, and themes captivated yet angered audiences.
Synopsis
The film tracks the story of a confident sales director, Laura Biel. Laura hails from Warsaw—and checks all the boxes on the beauty stock as well. Thanks to her successful career, Laura also gets to tick the beauty, relationship, and comes a husband in the form of Martin. Despite having “everything,” Laura feels unfulfilled in her life. To help ease her monotone life, Laura and Martin head off to Sicily for a vacation.
In her daily life, Laura is completely unaware that she has attracted the obsession of Massimo Torricelli, The Sicilian mafia Boss. Massimo, a powerful and fully loaded Mafia, found out about Laura ever since she was on a beach only for him to look at her moments before a massive attack on his dad took place. After the father’s death, Massimo uses his outstanding resources to find Laura.
Massimo, on the other hand, had kidnapped Laura whiles she was in Sicily. To get her to fall for him, he threatens to keep her in a cage for an entire year, assuring her that he won’t touch her unless she wants to. The entirety is a bizarre game of power and emotional manipulation where Laura finds herself becoming part of a very dangerous lifestyle.
The suffocating lifestyle that Massimo leads is fully paired with opulence, control and intense desire. As the plot hits the year mark, Laura’s endurance weakens which constructs a very dangerous and fine line between a consensual relationship and Stolkholm syndrome. In the end, Massimo wins the woman only for the viewers to be dragged down a cliff of suspense right before the end of the film.
Anna-Maria Sieklucka as Laura Biel: A forthright woman whose life takes a rocky turn when she gets kidnapped by Massimo. Sieklucka’s performance emphasizes Laura’s inner struggle, even though the character’s development has received a lot of flak.
Michele Morrone as Massimo Torricelli: A captivating and perilous mafia head who becomes enamored with a girl whose name he has yet to hear. Morrone’s brooding charm and physique draw the audiences in, and supplement the film’s appeal.
Bronisław Wrocławski as Mario: Massimo’s advisor and a loyal friend.
Otar Saralidze as Domenico: The right-hand man of Massimo.
Magdalena Lamparska as Olga: Laura’s best friend and confidant who serves a crucial purpose of balancing the narrative by adding humor and reality.
Tomasz Stockinger and Grażyna Szapołowska portray Laura’s overly concerned but largely absent parents.
Mateusz Łasowski as Martin: Laura’s boyfriend who starkly lacks interest and attention, a juxtaposition to Massimo’s dangerously intense disposition.
The film relies heavily on the chemistry between the two leads, especially during the many sexually charged scenes. The casting of Michele Morrone, who was relatively unknown before the film, aided in cementing 365 Days as a pop culture phenomenon.
Visual and Musical Elements
365 Days is visually captivating and appealing. It captures the picturesque Sicily landscapes, luxury fashion villas, and danger-infused romance making it an idealistic world. The seductive visuals created by the cinematographer of the movie Bartek Cierlica, are perfectly aligned with the film’s sensual characters. Along with the dreamy setting, golden glowing shadows add to the softness.
Equally important is the music, especially the soundtrack of the film, which features songs singed by Michele Morrone himself. Songs such as “Feel It” and “Hard For Me” add to critical moments throughout the film, merging character into the performer transforming the sensual mood in a different direction.
Themes and Controversy
The 365 Days story of a woman being captured gradually falling in love with her kidnapper is often discussed as a central principle because it is so controversial. Some people consider the story a blend of romance renaissance hailing a love formed through schemes, while others disapprove of it for the portrayal of domination and aggressive relationship branding.
Consent in this movie is terribly unsatisfying. Though Massimo claims that to Laura, “She wouldn’t be forced to do anything,” her captivity and the man’s mental games bring skepticism to any romance that buds during the film. It is argued that control is romanticized and possessiveness is mixed with desire.
In feminist circles, the movie sparked criticism for what many viewed as the perpetration of abusive behavior masquerading as romance. On the other hand, some defenders view it as a fictional fantasy that should not be taken literally.
Reception
Critics did give 365 Days a drubbing, but commercially, the movie was successful. It built a huge following globally, being one of the most-watched films on various streaming platforms after release. Even with its plot and themes being widely ridiculed, especially by professional critics, the film’s popularity among the general public was undeniable.
The performances of Michele Morrone and Anna-Maria Sieklucka were not received equally. While Morrone was credited with fulfilling the role’s physical demands, Sieklucka’s portrayal of Laura’s internal conflicts was regarded by some as convincing even if bound by the script’s controversy.
Critics were merciless with the film on account of the shallow plot that limited the amount of dialogue to the bare minimum and relied on sex scenes to keep the audience interested. Despite the unfortunate backfire, the mass backlash did nothing to alleviate its popularity. The unprecedented demand led to two sequel films that continued Laura and Massimo’s story.
Final Thoughts
365 Days is a cinematic conundrum. The film’s reception and aesthetic are jarringly incompatible with one another. It is both well-loved and widely criticized, alluring yet unsettling, breathtaking yet deeply troubled on the themes it explores. It raises philosophical inquiries considering the essence of fantasy, the limits of consent, and the dominating aspects of power in modern romance stories.
After all, 365 Days resonates with viewers across the globe, for better or worse. The film taps into deeply held fantasies but, at the same time, challenges what qualifies as romantic or aspirational. Its legacy will always be controversial, yet it remains a notable piece of contemporary culture and continues to shape discourse alongside the release of each sequel.
In any interpretation, whether as an enjoyable disgrace or as an embarrassing failure, 365 Days will never be overlooked. This film provokes debate, but perhaps that is the film’s most potent trait.
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