The Next 365 Days
Year: 2022
Director: Barbara Bialowas & Tomasz Mandes
Starring: Magdalena Lamparska, Michele Moronne, Anna-Maria Sieklucka & Simone Susinna
Runtime: 113 mins
BBFC: 18
Published: 30/08/22
Director: Barbara Bialowas & Tomasz Mandes
Starring: Magdalena Lamparska, Michele Moronne, Anna-Maria Sieklucka & Simone Susinna
Runtime: 113 mins
BBFC: 18
Published: 30/08/22
In May Netflix dropped 365 Days: This Day, sequel to 2020’s 365 Days. It was, as many expected it would be, awful with no redeeming features at all. But what many didn’t expect is that Netflix would drop the third and final film in the 365 Days trilogy just three months later in August. I strapped myself into the torture chair and prepared for the worst as I was set to face The Next 365 Days.
Set shortly after the events of This Day, The Next 365 Days follows Laura (Anna-Maria Sieklucka), who once again has managed to come back from the dead between films, as she begins to face relationship problems with her kidnapper come husband Massimo (Michele Morrone). Laura cannot move on from the powerful love she felt for her former lover, Nacho (Simone Susinna), causing her to push Massimo away and place their marriage in jeopardy.
I honestly didn’t think that directors Barbara Bialowas and Thomasz Mandes could possibly make a film worse than This Day, but The Next 365 Days is not only an awful conclusion to the story, but it is devoid of what made the franchise alluring in the first place which were the frequent and graphic sex scenes.
The Next 365 Days features the least sex of any of the films, and what sex there is lacks any kind of raunchy appeal because more closely resembles to two people having a seizure against each other than deriving pleasure from each other’s bodies.
With the sex mostly absent that means The Next 365 Days must rely on the story to support itself and if you’ve seen either of the previous films (or just read my reviews), you’ll know that the story is awful.
Like its predecessors before it, The Next 365 Days has a script that is completely incoherent. Having been written in Polish and then directly translated to English with no attempt at restructuring the sentences to make it make sense. The problem is only exacerbated by the wooden performances, and lack of chemistry between any of the cast.
Set shortly after the events of This Day, The Next 365 Days follows Laura (Anna-Maria Sieklucka), who once again has managed to come back from the dead between films, as she begins to face relationship problems with her kidnapper come husband Massimo (Michele Morrone). Laura cannot move on from the powerful love she felt for her former lover, Nacho (Simone Susinna), causing her to push Massimo away and place their marriage in jeopardy.
I honestly didn’t think that directors Barbara Bialowas and Thomasz Mandes could possibly make a film worse than This Day, but The Next 365 Days is not only an awful conclusion to the story, but it is devoid of what made the franchise alluring in the first place which were the frequent and graphic sex scenes.
The Next 365 Days features the least sex of any of the films, and what sex there is lacks any kind of raunchy appeal because more closely resembles to two people having a seizure against each other than deriving pleasure from each other’s bodies.
With the sex mostly absent that means The Next 365 Days must rely on the story to support itself and if you’ve seen either of the previous films (or just read my reviews), you’ll know that the story is awful.
Like its predecessors before it, The Next 365 Days has a script that is completely incoherent. Having been written in Polish and then directly translated to English with no attempt at restructuring the sentences to make it make sense. The problem is only exacerbated by the wooden performances, and lack of chemistry between any of the cast.
I’ve mentioned before how basic principles of filmmaking have not been adhered to when making the 365 Days films, and The Next 365 Days is no exception. Once again the film has been edited to the most generic music that has a vaguely trance-like vibe to it, and not very well with cuts not lining up to musical beats, and shots often breaking fundamental filmmaking rules making the action difficult to follow. The Next 365 Days has also managed to fall into the trap of having no discernible act structure, and as a result the pace is incredibly slow. The entire film is about Laura just trying to decide whether she wants to leave Massimo for Nacho, and there are no real defining moments along the way to help her come to the fate she chooses (not that the ending really makes it clear what her choice is anyway). It’s just a series of long, boring, meandering conversations that frequently lead nowhere.
Whilst all of the 365 Days films have been bad, The Next 365 Days is the worst by a considerable margin. Where the previous two films were sold on their raunchy sex scenes, The Next 365 Days has nothing to offer by removing them almost entirely. I’ve had more enjoyable viewing experiences watching paint dry, and I’ve come across more intelligent and better thought-out writing in tabloid newspapers. There are few films out there I would consider irredeemably bad, but The Next 365 Days is certainly one of them.
Whilst all of the 365 Days films have been bad, The Next 365 Days is the worst by a considerable margin. Where the previous two films were sold on their raunchy sex scenes, The Next 365 Days has nothing to offer by removing them almost entirely. I’ve had more enjoyable viewing experiences watching paint dry, and I’ve come across more intelligent and better thought-out writing in tabloid newspapers. There are few films out there I would consider irredeemably bad, but The Next 365 Days is certainly one of them.