May 11, 2026
Inner Voice and Missed Connections: Dissecting 'Somebody to Love' (Follemente)
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RSS Feed In this episode of *Movies First*, Chris and Jessica dive into the whimsical yet frustrating world of *Somebody to Love* (Follemente), a romantic comedy that explores the chaos of overthinking in dating. The film presents a unique premise: what if every decision you made on a date was influenced by a chorus of voices in your head? The story follows Pierro, a 40-year-old high school teacher, and Lara, a 35-year-old furniture restorer, as they navigate their first date filled with awkwardness and external commentary from their friends.
Listeners are treated to a comedic yet exhausting experience as Chris and Jessica unpack the film's concept. While the initial setup is amusing, the relentless dissection of every action and word quickly becomes overwhelming. The hosts discuss the chemistry between the leads, highlighting Lara's warm energy and Pierro's reserved nature, but lament the film's slow pacing, noting it takes a full hour for a kiss to occur—leaving viewers yearning for more.
As they delve deeper, Chris and Jessica critique the script's shortcomings, pointing out that the characters lack the depth necessary to keep audiences engaged throughout the 97-minute runtime. While the film attempts to explore themes of insecurity and decision-making in relationships, it ultimately feels bogged down by its own gimmick. With a score of 5.5 out of 10, this episode invites listeners to reflect on the potential of storytelling techniques that don’t quite hit the mark. Join Chris and Jessica as they dissect *Somebody to Love*, a film that, despite its moments, leaves much to be desired.
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To access the Movies First reviews archive visit our website at www.bitesz.com/podcast/movies-first
This episode includes AI-generated content.
WEBVTT
0
00:00:00.000 --> 00:00:02.280
Chris: Okay, so here's a what if every single
1
00:00:02.280 --> 00:00:03.920
decision you made on a date wasn't just
2
00:00:03.920 --> 00:00:06.040
yours, but also influenced by a chorus of
3
00:00:06.040 --> 00:00:08.400
voices in your head? That's the premise of
4
00:00:08.400 --> 00:00:10.640
Somebody to Love. A romantic comedy that
5
00:00:10.640 --> 00:00:12.760
takes the idea of overthinking to a whole new
6
00:00:12.760 --> 00:00:13.040
level.
7
00:00:13.280 --> 00:00:15.840
Jessica: Oh, uh, that's definitely relatable. We all
8
00:00:15.840 --> 00:00:17.680
have those inner voices, right?
9
00:00:18.640 --> 00:00:21.520
But turning that into a movie, that's a bold
10
00:00:21.520 --> 00:00:23.600
move. How does it actually play out?
11
00:00:24.480 --> 00:00:27.430
Chris: Well, it's a mixed bag. The story centers
12
00:00:27.430 --> 00:00:30.150
on Pierro, a 40 year old high school teacher
13
00:00:30.150 --> 00:00:32.150
with a young daughter and a divorce under his
14
00:00:32.150 --> 00:00:35.110
belt. And Lara, a 35 year old furniture
15
00:00:35.110 --> 00:00:37.350
restorer who's just untangled herself from a
16
00:00:37.350 --> 00:00:39.870
messy relationship with a married man. It's
17
00:00:39.870 --> 00:00:42.149
their first date and she's invited him over
18
00:00:42.149 --> 00:00:44.670
for dinner. He shows up with wine and
19
00:00:44.670 --> 00:00:47.190
condoms. So, you know, the stakes are already
20
00:00:47.190 --> 00:00:47.550
high.
21
00:00:47.790 --> 00:00:50.350
Jessica: That's quite the setup. And then you add in
22
00:00:50.350 --> 00:00:53.040
the Greek chorus, his four male friends and
23
00:00:53.040 --> 00:00:55.560
her four female friends, all in their heads,
24
00:00:55.640 --> 00:00:58.560
constantly chiming in. I can see how that
25
00:00:58.560 --> 00:01:01.440
could be funny, but also overwhelming. Does
26
00:01:01.440 --> 00:01:01.880
it work?
27
00:01:02.760 --> 00:01:05.640
Chris: At first it's kind of amusing. You get this
28
00:01:05.640 --> 00:01:07.679
peek into their insecurities, their doubts
29
00:01:07.679 --> 00:01:10.080
and their hopes, all voiced by their friends.
30
00:01:10.080 --> 00:01:12.360
It's like watching their inner monologues
31
00:01:12.360 --> 00:01:15.160
come to life. But the problem is, it doesn't
32
00:01:15.160 --> 00:01:17.840
stop. Every single action, every word
33
00:01:17.840 --> 00:01:20.350
spoken is dissected to death by these
34
00:01:20.350 --> 00:01:22.990
voices. It's like being stuck in a room with
35
00:01:22.990 --> 00:01:25.030
eight people who can't agree on anything and
36
00:01:25.030 --> 00:01:25.790
you can't leave.
37
00:01:26.590 --> 00:01:27.870
Jessica: That does sound exhausting.
38
00:01:28.910 --> 00:01:30.750
So while all this back and forth is
39
00:01:30.750 --> 00:01:32.910
happening, are we at least seeing any real
40
00:01:32.910 --> 00:01:35.590
connection between Lara and Pierrot? Do they
41
00:01:35.590 --> 00:01:37.150
have moments where you're rooting for them?
42
00:01:37.950 --> 00:01:40.070
Chris: There are definitely moments where you catch
43
00:01:40.070 --> 00:01:42.190
a glimpse of something real between them.
44
00:01:42.830 --> 00:01:45.630
Lara, played by Pilar Fogliotti, has
45
00:01:45.630 --> 00:01:48.390
this playful, warm energy that makes her easy
46
00:01:48.390 --> 00:01:51.390
to root for. Piero, played by Eduardo
47
00:01:51.390 --> 00:01:54.270
Leo, is a bit more reserved, but he has his
48
00:01:54.270 --> 00:01:57.230
moments too. The problem is the film
49
00:01:57.230 --> 00:01:59.990
takes forever to let those moments breathe.
50
00:02:00.790 --> 00:02:03.790
Spoiler alert. It takes a full hour for them
51
00:02:03.790 --> 00:02:06.550
to even kiss. An hour.
52
00:02:07.670 --> 00:02:09.910
By that point, you're just begging for
53
00:02:09.910 --> 00:02:11.430
something, anything, to happen.
54
00:02:12.040 --> 00:02:14.440
Jessica: An hour? That's a serious slow burn.
55
00:02:15.480 --> 00:02:17.200
So what's the deal with these two, uh, as
56
00:02:17.200 --> 00:02:19.440
characters? Are they compelling enough to
57
00:02:19.440 --> 00:02:21.720
carry the film, or does the script let them
58
00:02:21.720 --> 00:02:22.040
down?
59
00:02:23.000 --> 00:02:25.800
Chris: Honestly, the script is the real issue here.
60
00:02:26.360 --> 00:02:28.640
The concept had potential, but it doesn't
61
00:02:28.640 --> 00:02:31.280
have enough substance to sustain a 97 minute
62
00:02:31.280 --> 00:02:34.240
runtime. The characters are fine. Lara
63
00:02:34.240 --> 00:02:36.040
is definitely the more engaging of the two,
64
00:02:36.360 --> 00:02:38.280
but they're not given enough depth or
65
00:02:38.280 --> 00:02:40.970
development to make you truly invested. And
66
00:02:40.970 --> 00:02:43.610
the lack of surprises doesn't help. Aside
67
00:02:43.610 --> 00:02:45.850
from one curveball, everything feels pretty
68
00:02:45.850 --> 00:02:46.450
predictable.
69
00:02:46.930 --> 00:02:49.730
Jessica: That's disappointing. I mean, uh, romantic
70
00:02:49.730 --> 00:02:51.610
comedies don't always need to reinvent the
71
00:02:51.610 --> 00:02:54.130
wheel, but they do need to keep you engaged.
72
00:02:54.690 --> 00:02:56.569
If you're just sitting there waiting for them
73
00:02:56.569 --> 00:02:58.410
to kiss or wondering if he's going to stay
74
00:02:58.410 --> 00:03:00.090
over, that's not exactly riveting
75
00:03:00.090 --> 00:03:00.770
storytelling.
76
00:03:01.890 --> 00:03:04.890
Chris: Exactly. And to be fair, there are people who
77
00:03:04.890 --> 00:03:06.450
might appreciate the film's European
78
00:03:06.450 --> 00:03:09.090
sensibilities. The slower pacing, the focus
79
00:03:09.090 --> 00:03:11.850
on character, introspection. But for me, it
80
00:03:11.850 --> 00:03:14.610
just didn't land. Honestly, it felt like this
81
00:03:14.610 --> 00:03:16.410
concept would have worked better as a short
82
00:03:16.410 --> 00:03:19.410
film. 97 minutes was just too much.
83
00:03:20.210 --> 00:03:23.130
Jessica: That's a shame. It sounds like the film had
84
00:03:23.130 --> 00:03:24.810
the potential to explore some really
85
00:03:24.810 --> 00:03:27.530
interesting themes, like how our insecurities
86
00:03:27.530 --> 00:03:29.650
and inner conflicts shape our decisions,
87
00:03:30.130 --> 00:03:33.130
especially in relationships. But it
88
00:03:33.130 --> 00:03:34.810
seems like it got bogged down by its own
89
00:03:34.810 --> 00:03:35.250
gimmick.
90
00:03:36.500 --> 00:03:38.860
Chris: Exactly. And don't get me wrong, I didn't
91
00:03:38.860 --> 00:03:41.220
hate it. There were moments that worked, and
92
00:03:41.220 --> 00:03:43.540
I did warm to Fogliotti's performance,
93
00:03:44.180 --> 00:03:46.580
But overall, it felt lackluster.
94
00:03:46.980 --> 00:03:49.100
I ended up giving it a five and a half out of
95
00:03:49.100 --> 00:03:51.419
ten. It's not terrible, but it's not
96
00:03:51.419 --> 00:03:53.060
something I'd rush to recommend either.
97
00:03:53.700 --> 00:03:54.340
Jessica: Fair enough.
98
00:03:55.140 --> 00:03:57.420
So would you say the Greek chorus idea was
99
00:03:57.420 --> 00:03:59.980
the film's biggest downfall, or was it more
100
00:03:59.980 --> 00:04:01.860
about the lack of a compelling narrative?
101
00:04:03.120 --> 00:04:05.600
Chris: A bit of both. Honestly. The Greek chorus was
102
00:04:05.600 --> 00:04:07.680
a clever idea in theory, but it wasn't
103
00:04:07.680 --> 00:04:09.480
executed in a way that kept it fresh or
104
00:04:09.480 --> 00:04:11.760
engaging. And without a strong narrative to
105
00:04:11.760 --> 00:04:13.640
anchor the film, it just felt like it was
106
00:04:13.640 --> 00:04:14.640
spinning its wheels.
107
00:04:15.360 --> 00:04:18.240
Jessica: Got it. So, for anyone thinking
108
00:04:18.240 --> 00:04:20.720
about watching Somebody to Love, what's your
109
00:04:20.720 --> 00:04:23.680
advice? Go in with low expectations
110
00:04:24.320 --> 00:04:26.000
or maybe just skip it altogether?
111
00:04:26.880 --> 00:04:29.000
Chris: I'd say if you're a fan of European romantic
112
00:04:29.000 --> 00:04:31.680
comedies and you don't mind a slower pace, it
113
00:04:31.680 --> 00:04:33.920
might be worth a watch. But if you're looking
114
00:04:33.920 --> 00:04:36.040
for something with more energy or emotional
115
00:04:36.040 --> 00:04:38.360
payoff, you might want to look elsewhere.
116
00:04:39.000 --> 00:04:41.600
Jessica: Good to know. Well, it's always
117
00:04:41.600 --> 00:04:43.840
interesting to see how filmmakers experiment
118
00:04:43.840 --> 00:04:46.160
with storytelling techniques, even if they
119
00:04:46.160 --> 00:04:48.880
don't always hit the mark. Hopefully
120
00:04:48.880 --> 00:04:51.120
Genovese's next project will find a better
121
00:04:51.120 --> 00:04:52.240
balance. Agreed.
122
00:04:52.240 --> 00:04:55.160
Chris: Uh, and who knows? Maybe someone else
123
00:04:55.160 --> 00:04:57.310
will take this concept and give it the twist
124
00:04:57.310 --> 00:04:58.550
it needs to really shine.
125
00:04:59.430 --> 00:05:01.990
Jessica: Here's hoping. Thanks for breaking it down.
126
00:05:02.870 --> 00:05:04.630
It sounds like Somebody to Love had its
127
00:05:04.630 --> 00:05:06.550
moments, but ultimately it's a bit of a
128
00:05:06.550 --> 00:05:07.430
missed opportunity.
129
00:05:08.790 --> 00:05:11.790
Chris: That's a fair summary. And hey, at least it
130
00:05:11.790 --> 00:05:14.150
gave us something to talk about. I hope you
131
00:05:14.150 --> 00:05:17.150
enjoy Somebody to Love more than I did. Rated
132
00:05:17.150 --> 00:05:19.110
M. It scores a five and a half out of 10.
133
00:05:19.110 --> 00:05:21.350
Jessica: You've been listening to movies first
134
00:05:21.510 --> 00:05:24.390
available at Apple Podcasts, Spotify,
135
00:05:24.550 --> 00:05:27.310
iHeartRadio, or your favorite podcast
136
00:05:27.310 --> 00:05:29.610
player. You can also stream on demand at
137
00:05:29.610 --> 00:05:30.290
bytes.
138
00:05:30.290 --> 00:05:32.890
Chris: Com. This has been another quality podcast
139
00:05:32.890 --> 00:05:35.410
production from Bytes. Com. Um.
0
00:00:00.000 --> 00:00:02.280
Chris: Okay, so here's a what if every single
1
00:00:02.280 --> 00:00:03.920
decision you made on a date wasn't just
2
00:00:03.920 --> 00:00:06.040
yours, but also influenced by a chorus of
3
00:00:06.040 --> 00:00:08.400
voices in your head? That's the premise of
4
00:00:08.400 --> 00:00:10.640
Somebody to Love. A romantic comedy that
5
00:00:10.640 --> 00:00:12.760
takes the idea of overthinking to a whole new
6
00:00:12.760 --> 00:00:13.040
level.
7
00:00:13.280 --> 00:00:15.840
Jessica: Oh, uh, that's definitely relatable. We all
8
00:00:15.840 --> 00:00:17.680
have those inner voices, right?
9
00:00:18.640 --> 00:00:21.520
But turning that into a movie, that's a bold
10
00:00:21.520 --> 00:00:23.600
move. How does it actually play out?
11
00:00:24.480 --> 00:00:27.430
Chris: Well, it's a mixed bag. The story centers
12
00:00:27.430 --> 00:00:30.150
on Pierro, a 40 year old high school teacher
13
00:00:30.150 --> 00:00:32.150
with a young daughter and a divorce under his
14
00:00:32.150 --> 00:00:35.110
belt. And Lara, a 35 year old furniture
15
00:00:35.110 --> 00:00:37.350
restorer who's just untangled herself from a
16
00:00:37.350 --> 00:00:39.870
messy relationship with a married man. It's
17
00:00:39.870 --> 00:00:42.149
their first date and she's invited him over
18
00:00:42.149 --> 00:00:44.670
for dinner. He shows up with wine and
19
00:00:44.670 --> 00:00:47.190
condoms. So, you know, the stakes are already
20
00:00:47.190 --> 00:00:47.550
high.
21
00:00:47.790 --> 00:00:50.350
Jessica: That's quite the setup. And then you add in
22
00:00:50.350 --> 00:00:53.040
the Greek chorus, his four male friends and
23
00:00:53.040 --> 00:00:55.560
her four female friends, all in their heads,
24
00:00:55.640 --> 00:00:58.560
constantly chiming in. I can see how that
25
00:00:58.560 --> 00:01:01.440
could be funny, but also overwhelming. Does
26
00:01:01.440 --> 00:01:01.880
it work?
27
00:01:02.760 --> 00:01:05.640
Chris: At first it's kind of amusing. You get this
28
00:01:05.640 --> 00:01:07.679
peek into their insecurities, their doubts
29
00:01:07.679 --> 00:01:10.080
and their hopes, all voiced by their friends.
30
00:01:10.080 --> 00:01:12.360
It's like watching their inner monologues
31
00:01:12.360 --> 00:01:15.160
come to life. But the problem is, it doesn't
32
00:01:15.160 --> 00:01:17.840
stop. Every single action, every word
33
00:01:17.840 --> 00:01:20.350
spoken is dissected to death by these
34
00:01:20.350 --> 00:01:22.990
voices. It's like being stuck in a room with
35
00:01:22.990 --> 00:01:25.030
eight people who can't agree on anything and
36
00:01:25.030 --> 00:01:25.790
you can't leave.
37
00:01:26.590 --> 00:01:27.870
Jessica: That does sound exhausting.
38
00:01:28.910 --> 00:01:30.750
So while all this back and forth is
39
00:01:30.750 --> 00:01:32.910
happening, are we at least seeing any real
40
00:01:32.910 --> 00:01:35.590
connection between Lara and Pierrot? Do they
41
00:01:35.590 --> 00:01:37.150
have moments where you're rooting for them?
42
00:01:37.950 --> 00:01:40.070
Chris: There are definitely moments where you catch
43
00:01:40.070 --> 00:01:42.190
a glimpse of something real between them.
44
00:01:42.830 --> 00:01:45.630
Lara, played by Pilar Fogliotti, has
45
00:01:45.630 --> 00:01:48.390
this playful, warm energy that makes her easy
46
00:01:48.390 --> 00:01:51.390
to root for. Piero, played by Eduardo
47
00:01:51.390 --> 00:01:54.270
Leo, is a bit more reserved, but he has his
48
00:01:54.270 --> 00:01:57.230
moments too. The problem is the film
49
00:01:57.230 --> 00:01:59.990
takes forever to let those moments breathe.
50
00:02:00.790 --> 00:02:03.790
Spoiler alert. It takes a full hour for them
51
00:02:03.790 --> 00:02:06.550
to even kiss. An hour.
52
00:02:07.670 --> 00:02:09.910
By that point, you're just begging for
53
00:02:09.910 --> 00:02:11.430
something, anything, to happen.
54
00:02:12.040 --> 00:02:14.440
Jessica: An hour? That's a serious slow burn.
55
00:02:15.480 --> 00:02:17.200
So what's the deal with these two, uh, as
56
00:02:17.200 --> 00:02:19.440
characters? Are they compelling enough to
57
00:02:19.440 --> 00:02:21.720
carry the film, or does the script let them
58
00:02:21.720 --> 00:02:22.040
down?
59
00:02:23.000 --> 00:02:25.800
Chris: Honestly, the script is the real issue here.
60
00:02:26.360 --> 00:02:28.640
The concept had potential, but it doesn't
61
00:02:28.640 --> 00:02:31.280
have enough substance to sustain a 97 minute
62
00:02:31.280 --> 00:02:34.240
runtime. The characters are fine. Lara
63
00:02:34.240 --> 00:02:36.040
is definitely the more engaging of the two,
64
00:02:36.360 --> 00:02:38.280
but they're not given enough depth or
65
00:02:38.280 --> 00:02:40.970
development to make you truly invested. And
66
00:02:40.970 --> 00:02:43.610
the lack of surprises doesn't help. Aside
67
00:02:43.610 --> 00:02:45.850
from one curveball, everything feels pretty
68
00:02:45.850 --> 00:02:46.450
predictable.
69
00:02:46.930 --> 00:02:49.730
Jessica: That's disappointing. I mean, uh, romantic
70
00:02:49.730 --> 00:02:51.610
comedies don't always need to reinvent the
71
00:02:51.610 --> 00:02:54.130
wheel, but they do need to keep you engaged.
72
00:02:54.690 --> 00:02:56.569
If you're just sitting there waiting for them
73
00:02:56.569 --> 00:02:58.410
to kiss or wondering if he's going to stay
74
00:02:58.410 --> 00:03:00.090
over, that's not exactly riveting
75
00:03:00.090 --> 00:03:00.770
storytelling.
76
00:03:01.890 --> 00:03:04.890
Chris: Exactly. And to be fair, there are people who
77
00:03:04.890 --> 00:03:06.450
might appreciate the film's European
78
00:03:06.450 --> 00:03:09.090
sensibilities. The slower pacing, the focus
79
00:03:09.090 --> 00:03:11.850
on character, introspection. But for me, it
80
00:03:11.850 --> 00:03:14.610
just didn't land. Honestly, it felt like this
81
00:03:14.610 --> 00:03:16.410
concept would have worked better as a short
82
00:03:16.410 --> 00:03:19.410
film. 97 minutes was just too much.
83
00:03:20.210 --> 00:03:23.130
Jessica: That's a shame. It sounds like the film had
84
00:03:23.130 --> 00:03:24.810
the potential to explore some really
85
00:03:24.810 --> 00:03:27.530
interesting themes, like how our insecurities
86
00:03:27.530 --> 00:03:29.650
and inner conflicts shape our decisions,
87
00:03:30.130 --> 00:03:33.130
especially in relationships. But it
88
00:03:33.130 --> 00:03:34.810
seems like it got bogged down by its own
89
00:03:34.810 --> 00:03:35.250
gimmick.
90
00:03:36.500 --> 00:03:38.860
Chris: Exactly. And don't get me wrong, I didn't
91
00:03:38.860 --> 00:03:41.220
hate it. There were moments that worked, and
92
00:03:41.220 --> 00:03:43.540
I did warm to Fogliotti's performance,
93
00:03:44.180 --> 00:03:46.580
But overall, it felt lackluster.
94
00:03:46.980 --> 00:03:49.100
I ended up giving it a five and a half out of
95
00:03:49.100 --> 00:03:51.419
ten. It's not terrible, but it's not
96
00:03:51.419 --> 00:03:53.060
something I'd rush to recommend either.
97
00:03:53.700 --> 00:03:54.340
Jessica: Fair enough.
98
00:03:55.140 --> 00:03:57.420
So would you say the Greek chorus idea was
99
00:03:57.420 --> 00:03:59.980
the film's biggest downfall, or was it more
100
00:03:59.980 --> 00:04:01.860
about the lack of a compelling narrative?
101
00:04:03.120 --> 00:04:05.600
Chris: A bit of both. Honestly. The Greek chorus was
102
00:04:05.600 --> 00:04:07.680
a clever idea in theory, but it wasn't
103
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executed in a way that kept it fresh or
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engaging. And without a strong narrative to
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anchor the film, it just felt like it was
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spinning its wheels.
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Jessica: Got it. So, for anyone thinking
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about watching Somebody to Love, what's your
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advice? Go in with low expectations
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or maybe just skip it altogether?
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Chris: I'd say if you're a fan of European romantic
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comedies and you don't mind a slower pace, it
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might be worth a watch. But if you're looking
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for something with more energy or emotional
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payoff, you might want to look elsewhere.
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Jessica: Good to know. Well, it's always
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interesting to see how filmmakers experiment
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with storytelling techniques, even if they
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don't always hit the mark. Hopefully
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Genovese's next project will find a better
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balance. Agreed.
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Chris: Uh, and who knows? Maybe someone else
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will take this concept and give it the twist
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it needs to really shine.
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Jessica: Here's hoping. Thanks for breaking it down.
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It sounds like Somebody to Love had its
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moments, but ultimately it's a bit of a
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missed opportunity.
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Chris: That's a fair summary. And hey, at least it
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gave us something to talk about. I hope you
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enjoy Somebody to Love more than I did. Rated
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M. It scores a five and a half out of 10.
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Jessica: You've been listening to movies first
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available at Apple Podcasts, Spotify,
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iHeartRadio, or your favorite podcast
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player. You can also stream on demand at
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bytes.
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Chris: Com. This has been another quality podcast
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production from Bytes. Com. Um.
