Location, location, location is perhaps this film's biggest appeal, set in gorgeous Puglia on the azure coast of southern Italy. The pleasant, sun-baked setting provides a stark contrast to the inner turmoil of Jumping from High Places' main character, Sole.
Federica Torchetti gives a credible performance as a twenty-something held back by anxieties, despite a loving family, a strong community, two possible suitors, and an attentive therapist.
With the camera constantly on her, and a now-trendy breaking of the fourth wall, Torchetti does create complicity with viewers and offers an endearing performance reminiscent of a young Audrey Tatou.
But Sole is no Amélie, and Jumping lacks the kind of whimsy and charm that made that earlier French film about a comparable misfit so beloved. The story unfolds pleasantly but mostly predictably. It moves slowly, and Sole's hesitancy to move forward in her life could frustrate viewers with no sympathy for or familiarity with struggles like hers.
One panic attack is memorably visualized with the camera circling and circling around her, then pulling away slowly as a crowd fills in the foreground and she remains stuck in the same spot. Sole's complicit looks at the camera are repetitive, but the lovely and lovable Torchetti pulls them off. Those who can relate or empathize will find truth in Sole's tale, and in the way she draws people to her and teaches them about the everyday courage of facing one's fears.
And if not, you can always just bask in the beauty of the setting.
Read the full review at Common Sense Media.
Image courtesy of Netflix.
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