![]() ![]() There’s a case of mistaken identity at the meeting of grandpa and grand-daughter, even though they’re at his house and presumably expecting one another. The characters are thinly-drawn avatars presented as if they have emotional depth.Īnd the film proceeds haphazardly, not caring if a plot point doesn’t stack up if they think they can get a scene out of it. Gen X squares who just don’t get it are flagged up to us, be it fashion house boss Carola ( Katiuscia Canoro) – “I speak fluent Millennial” – or Ana’s platitude-spouting mother ( Sílvia Lourenço) – “there’s more to life than liking posts”. Social media is translated to the screen in the usual ways – pop-up comments, emojis and freeze-frame selfies. All the superficiality of the online life is blandly recreated, without insight or self-knowing humour. And if you think it bizarre that a court should be ordering this, then well done, you’ve spotted the source of the only twist in the plot, and it’s not a very good one.Īirplane Mode rarely transcends the banal. Her phone is legally confiscated and a judge rules she must live out in the sticks under the supervision of a grandfather she doesn’t know. So begins a period of enforced disconnection and an unconvincing voyage of self-discovery. Then she has another one of her regular prangs while posting at the wheel, and ends up in casualty… Her whole life, right down to who she dates and how, is carefully choreographed, by the brand as much as by her, but she loves it, if only her parents would get off her back. Netflix are doing international film no favours with Airplane Mode, only proving that flimsy American-style rom-com filler can be shot anywhere.īrazilian-made, but rubbishly dubbed into American English in this version, it follows the tribulations of social media influencer Ana ( Larissa Manoela) as she earns what passes for a living promoting a fashion brand. ![]()
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