“The Kidnapping of Arabella” follows Holly, who spends days at her dead-end job fantasizing about holes in the space-time continuum. After meeting 8-year-old rebel Arabella, she becomes convinced their meeting is a cosmic sign and they embark on an unconventional road trip.
Prior to converging into the central storyline, “The Kidnapping of Arabella” has a prologue (or several). Writer-director Carolina Cavalli tells the story in nonchronological order, offering separate perspectives of both of its lead characters before their trajectories collide. This approach immediately gives viewers reason to buy into them individually, seeing the similar problems that plague their lives despite Holly being an adult and Arabella being a child.
Giving each character their own introduction helps make the odd connection they form feel authentic by the time the film prioritizes it. You may wonder, “How can I root for a kidnapper?” That’s a valid question, but it’s not the main point of this story. The narrative does feature a “kidnapping” per se, just not in the traditional sense. It’s in these first 20 minutes that the film sets its fascinating premise in motion, with clear character dynamics, motivations and emotions for all parties involved.
Following the opening, “The Kidnapping of Arabella” slows down. As a “road trip” movie, the characters travel from location to location — with little actually happening in between. At each pit stop, the audience is able to learn additional backstory about both of them, but there’s never much more. Instead, the film remains slightly stagnant as it retreads similar ideas. With minimal momentum to carry the storyline forward, it starts to fall flat.
Its identity becomes clear in the conclusion, however. “The Kidnapping of Arabella” is a movie for anyone who has ever felt like an outcast. Holly is a person who is full of immense regret, watching days pass in her life with no true direction. Meanwhile, Arabella doesn’t fit in with her peers and constantly acts out. Together, Holly and Arabella are able to embrace their “weirdness.” In doing so comes a story of finding oneself and changing your life path.
“Perhaps the best part is that, despite it all, it’s impossible to go back. And I’m glad I met you, Arabella.”
It’s just a long journey to get there. With a 108-minute length, the film has a difficult time keeping all of the pieces together throughout.
Starring in “The Kidnapping of Arabella” are Benedetta Porcaroli (Holly) and Lucrezia Guglielmino (Arabella). Porcaroli plays a reserved character, one whose feelings are more often left unspoken than said aloud. She grows louder as the plot progresses, though, conveying varying emotions of sadness, anger, guilt and more. It’s a particularly memorable performance because of just how deadpan it is while also being outwardly demonstrative. Porcaroli shares these feelings through facial expressions, mannerisms and dialogue, creating distinctiveness amid blandness. Guglielmino is just as memorable, being loud and manipulative but also carefree and youthful. Also appearing is Chris Pine (Orest D.). While he has limited screen time, Pine does make an impact. Especially in its early stages, he is fundamental to kick-starting — and attempting to stop — the road trip.
Visually, the film mixes surrealism with straightforwardness. The framing is very rigid, with director of photography Lorenzo Levrini utilizing close-ups and a shallow depth of field. In long shots, characters are often placed in the center, letting the surrounding environment add depth around them.
“The Kidnapping of Arabella” brings a pair of misfits together for a coming-of-age road trip. While the voyage is monotonous, the performances and themes make it impactful.
Rating: 3 out of 5
