Under the Riccione Sun: A Vibrant Setting Can’t Save Its Weak Plot

The opening shot of Under the Riccione Sun lingers on a crowded beach, sunbathers sprawled like colored candies across golden sand. It’s an image that promises escapism, but the film struggles to deliver anything beyond surface-level charm. Directed by Antonio Usbergo and Niccolò Celaia (collectively known as YouNuts!), this 2020 Italian romantic comedy follows a group of teenagers navigating summer love and friendship on the beaches of Riccione. The cast is led by Cristiano Caccamo, Saul Nanni, Ludovica Martino, and Lorenzo Zurzolo, with supporting turns from veterans like Isabella Ferrari and Andrea Roncato. Released on Netflix in July 2020, it’s a film that leans heavily into the tropes of youthful escapism, but its execution is uneven at best.

The setting of Riccione—a bustling beach town along the Adriatic coast—is more than just a backdrop; it’s practically a character itself. The film captures the vibrancy of the town, from its gelato shops to its lively nightlife, creating an atmosphere that feels both nostalgic and inviting. The soundtrack, featuring upbeat Italian pop tracks like “Riccione,” “Fine dell’estate,” and “Completamente,” elevates the film’s mood, making even its weaker moments feel lively. However, the direction by Usbergo and Celaia often feels content to let the setting do the heavy lifting, resulting in a visual style that, while pleasant, lacks any real ambition.

The performances are where Under the Riccione Sun shines brightest. Cristiano Caccamo as Ciro brings a boyish charm to his role, effortlessly embodying the awkwardness and enthusiasm of a teenager experiencing first love. His chemistry with Ludovica Martino, who plays Camilla, is palpable, and their scenes together crackle with youthful exuberance. Saul Nanni as Marco steals the show in smaller moments, bringing a grounded warmth and humor to his role that makes him stand out among the ensemble. Lorenzo Zurzolo as Vincenzo delivers a solid performance, though his character arc feels somewhat underdeveloped.

The supporting cast adds depth and texture to the film. Isabella Ferrari as Irene brings a maternal warmth and wisdom to her role, providing a stabilizing presence amidst the chaos of teenage drama. Her scenes with Davide Calgaro’s Furio are some of the film’s most engaging, offering moments of genuine emotional resonance. Andrea Roncato as Gualtiero offers comedic relief with his over-the-top antics, though his character sometimes feels more like a caricature than a fully realized person.

However, the film stumbles in its storytelling. The plot is predictable, leaning heavily on familiar tropes of summer romances and friendships tested by love triangles. The pacing drags in the second act, bogged down by repetitive conflicts that fail to resonate emotionally. The film’s attempt to balance multiple storylines—romance, friendship, family dynamics—ends up feeling scattered rather than layered. Compared to other Italian romantic comedies like The Great Beauty or even Netflix’s own Summer of 85, Under the Riccione Sun feels derivative and lacking in originality.

The cinematography is competent but unremarkable, favoring wide shots of the beach and the sea over more intimate or visually inventive framing. The editing could have tightened some scenes, particularly in the middle act where the plot meanders without clear direction. The dialogue, while serviceable, often feels clichéd and lacks the wit or depth to elevate the film above its genre counterparts.

The film’s themes of love, friendship, and self-discovery are explored superficially. While it touches on the universal experiences of young adulthood—navigating relationships, dealing with heartbreak, and searching for identity—they are treated with a lightness that prevents them from feeling meaningful or impactful. The characters’ emotional journeys lack depth, and their conflicts often feel contrived rather than organic.

Under the Riccione Sun is a film that knows its audience—young adults looking for a lighthearted escape—and it delivers on that front. It’s a breezy, sunny romp through the summer of youth, filled with laughter, romance, and the occasional tear. But it’s unlikely to leave a lasting impression beyond the summer.

For fans of Italian romantic comedies or those seeking a nostalgic trip down memory lane, Under the Riccione Sun offers a pleasant, if forgettable, experience. It’s a film that captures the essence of youthful escapism but fails to rise above the tropes of its genre.