Tonight’s First Look Review
Sometimes, the most dazzling star power just can’t rescue a film burdened by an overlaboured script. In the world of romantic comedies, director Nanni Moretti and star Louis Garrel have certainly drawn attention, but the latest effort, It Will Happen Tonight, struggles to live up to the promise of its own sprawling, decades-spanning romance.
Moretti’s cinematic vision often delights in playing with the public’s perception of his leading men. In this film, Garrel is thrust into a journey about waiting for the ones you love, set against a backdrop that stretches across decades and nations. Yet, despite the film’s ambitious scope, the chemistry and character development remain largely elusive.
The film’s expansive nature stems from its eclectic foundation. Moretti weaves together narratives from various sources, including Eshkol Nevo’s collection Hungry Heart, giving the movie a mosaic quality that shifts constantly. This allows It Will Happen Tonight to transition effortlessly—from breezy comedy to “dadcore” cinema, incorporating elements like live concert footage and family melodrama—as the story skips forward through seven years at a time.
The initial charm of the film is established in Oslo, where Matteo (Garrel) and his young partner Thea (Melina Åkerman) prepare for a baby, much to the hilarious exasperation of his straight-talking mother. This domestic opening quickly expands globally, introducing parallel storylines. In a single India-set scene, actor Greta (Jasmine Trinca) navigates a decision that places her in a relationship with another man, a subplot that appears to be relegated to the periphery.
Matteo and Greta are theoretically destined for one another, but the spark between them feels deliberately muted. Their initial romantic encounters are less about genuine connection and more about a series of contrived moments—a chance meeting on a wedding day and a prolonged afternoon spent convincing Greta that she is “perfect” for him. Moretti, in his characteristic fashion, steps in as Greta’s father, attempting to push the characters toward connection, even as the sprawling narrative actively works to keep them apart.
As the story unfolds, the romance escalates through a series of dramatic twists and alternative relationships. However, the focus seems less interested in the emotional nuances of Matteo and Greta’s ensuing affair than in the wishy-washy romanticism that led them there. The script unfortunately does a disservice to the film’s more minor female characters, such as Thea and Anna, who are painted more as mere obstacles on Matteo’s predetermined path.
While the film occasionally finds moments of brilliance, such as a choreographed musical number or Matteo’s father’s irresistible dad jokes, these flashes are often overshadowed. Ultimately, the film’s attempt at a grand, sappy romance coasts too heavily on Louis Garrel’s onscreen appeal, which, while charming, is not enough to give the entire project the necessary momentum.
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