MOVIE OF THE WEEK July 17, 2026: THE KIDNAPPING OF ARABELLA
Quirky and poignant, Italian writer/director Carolina Cavalli’s The Kidnapping of Arabella tells the story of a young woman named Holly (Benedetta Porcaroli) whose grief and childhood pain conspire to leave her believing that the space-time continuum has somehow brought her face to face with a younger version of herself. As she figures out what to do with that unlikely opportunity, she must ultimately face the reality she’d rather ignore.
As the movie begins, Holly, who studies physics and is mourning the loss of her mother, is begrudgingly working at an ice rink, where she opts to blame small holes in the fabric of the universe for unusual moments like randomly finding a tooth on the ice. When, after scamming/bullying a fast-food worker into giving her a free order of fries, Holly encounters a feisty 8-year-old girl (Lucrezia Guglielmino) in the parking lot, she becomes convinced that the child is, in fact, her younger self, brought to her to give her a second chance at making better life choices. So when the girl offers to pay Holly for a ride to “anywhere but here,” they drive off together.
Which, alas, isn’t a great start to the “better life choices” plan, given that the girl is, in fact, Arabella, the headstrong daughter of a well-known writer (Chris Pine, in his first Italian-language role), and people — including the police — are looking for her. But Holly and Arabella manage to stay a few steps ahead of them as they try to find Granatina (Eva Robin’s), a veteran dancer from Holly’s past. Along the way, they both irritate and comfort each other, establishing a genuine connection even if it’s not exactly the one Holly thinks it is.
Both lead actresses give strong performances, with Benedetta Porcaroli making it clear that Holly’s brusque prickliness is the result of lasting, unresolved emotional trauma and Guglielmino’s Arabella becoming much more sympathetic as we realize that her outrageous behavior is a call for attention in a world where she’s often silenced and ignored even by those who purport to love her. Cavalli directs both with a sure hand, her wry script offering moments of both humor and pathos — just like life. — Betsy Bozdech
Team #MOTW’s comments:
Nell Minow: The Kidnapping of Arabella keeps us off-kilter from the beginning because Arabella (Lucrezia Guglielmino) is closer to being a kidnapper than a kidnap victim, even though she is only eight years old. Guglielmino gives a wonderful performance, spirited but utterly natural. As the story continues, with Arabella and a confused young woman named Holly (Venice Horizons Award sinner Benedetta Porcaroli), it is not always clear what is real and what is imagined, whether the journey is internal or external. But a scene near the end, when Holly and real-or-imagined Arabella look into each other’s eyes through a TV screen, is unmistakably powerful.
Loren King The title may sound like a Lifetime movie but there is nothing formulaic about director Carolina Cavalli’s The Kidnapping of Arabella. Darkly comedic and quirky, it’s an often surreal road movie through Italy’s Po Valley. The story about disaffected 20-something Holly (Benedetta Porcaroli) who drives off with the equally disaffected, often bratty eight-year-old Arabella (Lucrezia Guglielmino) may not appeal to everyone. But there’s plenty to admire about Cavalli’s compositions, her commitment to her oddball characters and deadpan tone, and the fearless performances she gets from Porcaroli, Guglielmino and American actor Chris Pine, speaking Italian, as Arabella’s volatile father, an insecure writer with buttons his young daughter knows just how to push.
Leslie Combemale The Kidnapping of Arabella is a sort of absurdist love letter to troubled, sad people. What will make those who seek it out hang in there despite the frame-by-frame weirdness and decided lack of a real plot is twofold: the chemistry between Benedetta Porcaroli as Holly and Lucrezia Guglielmino as Arabella, and Chris Pine speaking flawless Italian while believably playing a depressed ex-pat single father. Writer/director Carolina Cavalli has a strong point of view, and we could use more strong female points of view making it to the big screen
Jennifer Merin Italian writer/director Carolina Cavalli’s The Kidnapping of Arabella is an unusual and thoroughly engaging splice of genres: coming of age, buddy buddy road trip, new age scifi, psychological thriller, magical unreaism. The story’s unique premise – which isn’t quite clear until you’re well into the film, if then — gives rise to speculation about where Arabella, a clever and manipulative pre-tween life escapist, is heading and contemplation of how personal trauma impacts intergenerational memory and how that influences life choices. When the characters seem to get lost, let yourself get lost with them. Thanks to stunning performaces by Lucrezia Guglielmino as Arabella and Benedetta Porcaroli as Mollly, her roadtrip companion, and Chris Pine (brilliant! speaking Italian!), this character-driven film sticks in your memory. causing cruising contemplation about your own intergenerational influences and other such oft-inhibited psychic questions.
Liz Whittemore Carolina Cavalli’s The Kidnapping of Arabella is not only a weirdly manufactured road movie but a unique take on unresolved childhood trauma. When our 8-year-old titular character decides to punish her famous father, a troubled young woman mistakens the girl for the younger version of herself. What ensues is a funny and poignant exploration of sadness, anger, and self-actualization. Arabella is an intelligent but spiteful brat, hellbent on manipulating her surroundings. Holly is an eccentric hustler, longing to feel seen, who has difficulty separating fantasy and reality. This unconventional duo works together with growing glee to complete a coming-of-age journey like no other. Sincere commitment to the absurdity is magic. Chris Pine’s compelling intensity is that of a broken man. But it is the performances of our magnetic duo, newcomer Lucrezia Guglielmino and a mesmerizing Benedetta Porcaroli, who deliver cinematic magic in their instant chemistry. The Kidnapping of Arabella will capture your heart.
Sandie Angulo Chen: The Kidnapping of Arabella may begin with Chris Pine in a supporting role as a famous self-absorbed author with a precocious daughter, but the quirky Italian dramedy really belongs to Benedetta Porcaroli. She’s fabulous as the flawed but fascinating Holly, who becomes convinced that a young girl she meets in a Taco King parking lot is the manifestation of her younger self. In fact, the girl is the titular Arabella (Lucrezia Guglielmino), a defiant 8-year-old who wants to escape her father (Pine). Directed by Carolina Cavalli, the movie is reminiscent of a Coen brothers film, and Porcaroli is the main reason to see it.
Monique Jones Carolina Cavalli’s The Kidnapping of Arabella is an acquired taste of a film. I appreciate that it is investigating the feelings of belonging and existential dread, because everyone, at one time, has felt like they don’t fit in to their time and space. I also think the fact that the two main female characters, Holly (Benedetta Porcaroli) and young Arabella (Lucrezia Guglielmino) are “bad” so to speak–they aren’t perfect or even kind. They fly in the face of how women and girls are expected to be written for film. I appreciate that it made me think long after the film was over. With that said, some audience members might feel like they don’t “get it” and that’s okay. The film isn’t made for “American” sensibilities, per se. But if you are a fan of international film and want to be challenged, The Kidnapping of Arabella might be the film for you.
Cate Marquis The Kidnapping of Arabella starts out hinting at The Ransom of Red Chief but gradually turns into something more like a gentler Don Quixote. Everything is absurd and comic at first but, surprisingly, things become clearer, more rational and humanly moving as this road trip/quest unfolds. We are intrigued from the start by these enigmatic, vividly-drawn characters, not just Holly and Arabella but all the odd characters who play a part in the surprising story. Director/writer Carolina Cavalli offers just enough hints and background about each puzzling one of them, but never reveals everything, so that we grow to care deeply about them and better understand them, but still remaining curious about how they came to be in their present state. The wild, inventive story draws us in and keeps us hooked with its mysterious characters, while keeping us unsure what happens next, as it goes from absurdly comic to warmly touching, until its various threads come together in its satisfying ending. Read full review.
FILM DETAILS:
Title: The Kidnapping of Arabella
Director: Carolina Cavalli
Release Date: July 17, 2026
Running Time: 107 minutes
Language: Italian with English subtitles
Screenwriter: Carolina Cavalli
Lead Performers: Benedetta Porcaroli, Lucrezia Guglielmino, Chris Pine
Distribution Company: Oscilloscope
AWFJ Movie of the Week Panel Members: Sandie Angulo Chen, Betsy Bozdech, Leslie Combemale, Monique Jones, Loren King, Cate Marquis, Jennifer Merin, Nell Minow, Liz Whittemore
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Edited by Jennifer Merin
