Perfect Strangers (Perfetti sconosciuti)


Perfect Strangers (Perfetti sconosciuti)

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Reviews Counted: 13

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Audience Score

User Ratings: 686


All Critics | Top Critics
Average Rating: N/A
Reviews Count: 0
Fresh: 0
Rotten: 0


Average Rating: 4/5

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Movie Info

Each of us has three lives: a public, one private and one secret. Once the secret was well protected in the archive of our memory, today in our sim. What if that tiny coupon would begin to talk about?


Critic Reviews for Perfect Strangers (Perfetti sconosciuti)

All Critics (13) | Top Critics (3)

[A] histrionic and slightly shambolic comedy of manners and morals.

Feb 3, 2017 | Rating: 2/5 | Full Review…

It might have been nastier in the hands of a less experienced director but Genovese handles it with delicacy. They might all be liars, but who's going to throw the first stone?

Jan 20, 2017 | Rating: 3.5/5 | Full Review…

An unsubtle chat fest stocked with immature characters ...

Apr 14, 2016 | Full Review…
Top Critic

Perfect Strangers is a fiasco. [Full review in Spanish]

Aug 8, 2018 | Full Review…

A tragicomedy full of truly hilarious moments, a well-acted film that manages to develop an interesting premise very intelligently during at least the first sixty minutes of footage. [Full review in Spanish]

Aug 22, 2017 | Rating: 3/4 | Full Review…

The actors are relaxed and self assured, and there are some classic farce situations that morph into something more dramatic.

Mar 2, 2017 | Full Review…

Audience Reviews for Perfect Strangers (Perfetti sconosciuti)


This looks at first like a Bergman-style analysis of relationships, the characters forced claustrophobically together until the truth is out. But it belongs in a stream of Italian films that seem to apologise for questioning traditional concepts of marriage, gender, sexuality and family. Despite an efficient script and quality acting, it is forced, and has its eye to an invisible censor. It is saying 'Oh, I am so shocked', but no modern, first world viewer can be greatly surprised at what happens. The male characters consist of three heroes, their faults forgivable, plus an attractive anti-hero. You could see in these men a religious theme of the holy trinity plus the devil. But it never cuts unflinchingly deep as Bergman would have done; for example, is it really saying that God or Christ could be gay? The women are fallen, made ridiculous, or heart-broken; they end up diminished, and not powerful at all: compare Autumn Sonata, Scenes from a Marriage, or Persona; or the biblical stories of women. The screenplay dodges direct accusation by giving equal time and space to all of the characters, and placing them more or less symmetrically. It is an intellectual exercise, good to look at, with clever twists, like a competent, allegorical painting. There is little involvement for the audience; without an emotional dénouement the ending was a problem, and it resorts to a glib device. Along the way, cut-and-paste pictures of an impossibly huge moon are a hilarious pointer to the film's problems with sincerity - watch for the unmoving clouds. Perhaps this show is telling us where modern Italy is at; or where someone thinks it should be, laced with generous doses of guilt. Maybe it holds up a documentary mirror to bourgeois society more generally. Maybe it is saying to mind your morals in the age of social media. If you are not too bothered about intellectual honesty, or about being fed a subliminal religious or moral lesson nodding to conservative authority, then you can sit back through this like a good soap, and chuckle and tisk your way along at the self-inflicted tribulations of a group of well-off people, all of it presented in a lush interior, or classically handsome streets, and delivered with the inimitable Italian talent for style.

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