Natale a Rio is a 2008 Italian cinepanettone directed by Neri Parenti with Christian De Sica. The film has grossed €24,678,792 in Italy. It is the third film starring De Sica without mate Massimo Boldi, his shoulder of honor in these films that make up the saga of Italian "cinepanettoni". In fact, in 2006 they were separated in film roles following a dispute.
Plot
Fabio Speranza has always been in love with his colleague Linda Vita but she has never seen in four years despite attempts to Fabio. The latter contact but due to a mistake she believes is her boyfriend, thus creating a series of misunderstandings. Paolo Berni and Mario Patani, are two divorced, and they have organized a luxurious vacation in Rio de Janeiro for the Christmas holidays. They ignore, however, that their sons Piero and Marco have booked a trip for the same low-cost destination. For a problem of homonymy between fathers and sons, the two holidays are exchanged, however, so while their sons enjoy in luxurious villas, fathers end up into a comic wandering. Paolo and Mario understand that there was a mistake and try by every means to regain possession of their holiday.
The saga of ''cinepanettoni'' (''the Italian comedies of [Christmas]'')
From 1983 until 2011 in Italy were released every year around Christmas time a series of comedies, known as cinepanettoni. These films are focused on holidays taken by stereotypical middle-class Italians: bungling, enriched and presumptuous, who travel to countries regarded as famous and stylish. The settings include India, Egypt, America, Cortina d'Ampezzo or the Netherlands. Many of the plots are unrelated to the Christmas season, except for movies set in Italy. The protagonists, joined by other comic couples, find themselves struggling on their holidays with various messes that develop while they are abroad. Their children often prove to be the only ones capable of resolving the complicated situations created by their parents, who invariably get involved in intrigues with underworld stories of betrayal and love. Italian critics have often considered these films of little ethical or educational value, as they contain large amounts of scurrilous and vulgar phrases, and the characters provide a bad example to young viewers. It often happened that De Sica and Boldi, mature and elderly people, were considered too dominant in the screenplay, preventing young people performing to their full potential. Critics have also said that this line of films, including the authors, actors and directors, represents and emphasizes the era and the power of Silvio Berlusconi.
