
After the match they have a chance encounter in a bar with Andy a young Chilean who Davide falls completely in love with at first sight. Whilst Loris is busy being ‘entertained’ by some pole dancers in a Strip Bar, Davide sneaks off to hang out with Andy. When he learns that this handsome environmental activist is planning to fly home and then on to visit the glazier in Patagonia, David who has been entrusted with Loris’s credit card, decides on a whim to buy a ticket and go too.

Meanwhile back in Barcelona Loris finds David’s goodbye note at the same time that the Credit Card Company call him to check on this sudden rash of unusual spending. With their help Loris discovers that his brother has flown to Chile so he hops on the next plane even though the only real leads he has are from tracking the use of the credit card that David is using liberally.
Once he lands Loris enlists the help of a charming cab driver who, in another strand to the story, turns out to have a troubled past that keeps coming back to haunt him at critical points of the search for Davide. After a lot of chasing around town and encountering more than a few comic setbacks, Loris finally tracks Davide down and eventually his initial anger is defused when the brothers finally start to talk properly for the first time.
When Ana tells them that Andy has left for Patagonia already, Davide insists that they follow him as quickly as possible because he believes that he has ulterior motives in wanting to go there which may have tragic consequences.

The unpredictable plot lines gives a real edge to this engaging voyage of discovery these two very different brothers undertake, which is as much about their ‘journey’ they need to take to find themselves as the end result itself. It succeeds so well with a lot of the credit going to a well-chosen cast particularly young Filippo Scicchitano (‘Fasten Your Seatbelts’) as Davide, and last seen in ‘The Great Beauty’ where he painted himself red, Luca Martinelli as the wound up Loris, plus veteran Chilean actor Alfredo Castro as the cab driver.
What is refreshing about Lunardelli’s handling of what is essentially a two-pronged ‘coming out’ story is that he doesn’t burden the script by overwhelming us with exploring too deeply all the issues he touches upon, but instead focuses on giving us well-rounded and likable characters that we can so easily relate too.
Highly recommended.