Using the road-movie narrative template to explore an unconventional form of companionship, The Kidnapping of Arabella is far from a typical coming-of-age film — in fact, it might be better described as a “coming out-of-age” journey. One of your first reflections might be: who kidnaps whom? This piece of subversive comedy matches the idiosyncratic tone and character-driven quirks found in Carolina Cavalli’s feature debut, Amanda (2022), and her co-penned work Fremont (2023). Centering on themes of loneliness, connection, and co-dependence, this offbeat film delivers a quirky blend of deadpan humor, sharp dialogue, and a generous dose of absurdity.
Among the fresh new wave of Italian female filmmakers on the international film festival circuit, Cavalli returned to the Venice Film Festival’s Orizzonti section for a her second time out with Benedetta Porcaroli winning the Orizzonti award for Best Actress. In my sit-down with the filmmaker, we got to chat about the challenges of working with child actress Lucrezia Guglielmino, her choices in filming locations and what Chris Pine might have included to the film’s distinct DNA.
