The new film by popular Italian director Paolo Genovese seems conceived more as a clever commercial move than a comedy. It's a logical decision, after all, since Genovese is the creator of the film with the most remakes from history: Perfect Strangers. Like that film, Madly (FolleMente) is a massively popular ensemble comedy (and therefore not very keen on subtleties) that takes place in a single space and seems designed to sell lucrative international rights. Unlike the other film, the premise of Madly is not even original, and the inventiveness and success of the very similar Inside Out, Pixar's animated gem, work against them. In this romantic comedy with a supposedly contemporary sensibility, a man and a woman on their first date must confront the different personalities (reason, love, passion, apathy) that battle inside their boss, embodied by four characters who dictate conflicting orders. Madly It doesn't work as a romantic comedy because the constant jumps between the outside and inside of people's minds prevent us from getting to know, or caring about, the two protagonists, who end up coming across as schematic. However, the most irritating aspect of the film is its apparent intention to deconstruct and update the romantic comedy, ultimately establishing a traditional discourse on heterosexual love and the supposed differences between genders that doesn't miss an opportunity to include some stale commentary on feminism.