It’s been a while since we had a film that was so truly and unequivocally consistent and vitriolic in its disdain for technology. Just when we thought it was safe to once again sink back into your pleasant void of social media, Parents vs Influencers (Italian: Genitori vs Influencer) arrived, seemingly out of nowhere, and reminded us of the downside of embracing the internet and the myriads of netizens that call the world wide web their virtual home. The comedy, co-written and directed by Michela Andreozzi, who aims to present a different image of contemporary Italian society, may not be a particularly good film, nor one that is all that remarkable, but what it lacks in originality it compensates for in genuine heart. Not a serious film at all, but rather one designed to be a couple of hours of diverting entertainment that takes aim at a modern idea, which it does with a lot of heart, even at its most derivative. Mindlessly entertaining in the way that many films often tend to be, and composed with a peculiar candour that seems far deeper than the actual film may intend to be, Parents vs Influencers is a lot of fun, so much that we can momentarily look beyond the shortcomings and just take this film for what it is – a charming and delightful comedy about cross-generational misunderstanding, the immense power of technology, and the importance of putting the phone down and looking at the world that surrounds us, which we’ll often find is more enthralling and enriching than nearly anything we can find when sitting behind a screen.

On the surface, Parents vs Influencers doesn’t appear to be anything all that special – in fact, it really isn’t something that warrants much more than a slight amount of curiosity. This is a clear case of a film delivering exactly what it offers, in this case an abundance of very funny moments, strung together by a cautionary tale to the shortcomings of the technological world. This is a concept that has rarely been more resonant than it is today, and for good reason – as a global culture, we have become too reliant on social media and the immense power of the internet, which holds every piece of information seemingly known to our species. It’s difficult to not get permanently lost in this world, since it is one that offers an ideal life for many individuals, who use the platforms afforded to them to distract from their often mundane lives. Parents vs Influencers is certainly not claiming to be the definitive text on any of these issues, but rather a brief sample at what is essentially a major concern for many individuals who struggle to reconcile the need to look away from the glaring screen with the human desire to always try to fit into the status quo. It’s a deep conversation, and this quaint comedy that is really more about parenthood than it is about technology, is perhaps not the best place to have such complex discussions. However, this doesn’t stop the director from infusing every scene with a kind of off-the-wall zaniness and insatiable energy that harbours deeper messages if we look just below the surface.

The key to the success of Parents vs Influencers is that it is a film that covers some more sobering subject matter, but in a manner that is very fun and entertaining, working best as a light and breezy romp through the world of social media. Part of the charm comes in the form of Fabio Volo, a popular Italian comedian and DJ, whose presence as one of the leads of the film lends it a degree of comfort, as he’s not an actor known for always doing serious fare. Perhaps positioning him as some incredibly intelligent philosophy professor took a bit of bravery, since he is better known for more lightweight comedies, which is certainly the approach being taken by this film. Characterization is certainly not much of a factor in this film, which works best as a series of comedic moments placed together under the general approach of being a sweet comedy – so nothing about Parents vs Influencers is all that impressive in cinematic or narrative terms, but it certainly doesn’t lack meaning, with the performances given by Volo, as well as Ginevra Francesconi and Giulia De Lellisin other major roles, contribute to the very humanistic sense of comedy that is integral to the film’s success. As is often the case with such middling comedies, the cast is the boundary between the audience and the story, interpreting what is a very simple narrative and turning it into an effective comedy that knows how to convey a particular message without becoming too overwrought. The moments of over-saccharine sentimentality are strong, but they’re too few and far between two have much of an impact, aiding the film in being relatively decent in the areas that matter the most.

There isn’t all that much to Parents vs Influencers, which functions mostly as a very funny, family-oriented comedy that aims to give the viewer a good time, while still stirring thought towards the role social media plays in our lives, a discussion that everyone in this film does take seriously, even if the tone of the narrative is a lot lighter than it probably should’ve been. It’s not the first critique of technology as a medium that is slowly overtaking our lives, nor do I expect it to be the last – but it has a refreshing sense of humour and enough heart to warrant the time it takes to watch this simple story unfold. It’s unlikely going to linger on in the mind of the audience for long, but it does incite a lot of unexpected joy, especially in the moments that are most moving. There’s a simmering emotiveness to this film that we’d not expect for such a conventional story, and even when it is as its most emotionally taut, the film is never manipulative, the sentimental moments being obvious but not enough to ruin the film. This is a clear case of laughing with a film as opposed to laughing at it, which seems to be the primary purpose of Parents vs Influencers, which carries the intention of conveying a message without going too far or becoming unbearable by preaching to the choir. It’s well-made, very charming and always goes for the higher-ground, something very difficult for a film that consistently aims to take on a subject as large and intimidating as social media, which has proven to be both a blessing and a curse in the modern world.