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Like Crazy (2016)

La pazza gioia (original title)
Not Rated | | Comedy, Drama | 17 May 2016 (Italy)
1:41 | Trailer
Two quite different women escape a mental institution to see Tuscany in a stolen car and get to know each other.


Paolo Virzì


Paolo Virzì (story), Paolo Virzì (screenplay) | 1 more credit »
30 wins & 27 nominations. See more awards »



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Cast overview, first billed only:
Valeria Bruni Tedeschi ... Beatrice Morandini Valdirana
Micaela Ramazzotti ... Donatella Morelli
Valentina Carnelutti ... Dottoressa Fiamma Zappa
Sergio Albelli Sergio Albelli ... Torrigiani dei Servizi Sociali
Tommaso Ragno Tommaso Ragno ... Dottor Giorgio Lorenzini
Luisanna Messeri Luisanna Messeri ... Luisanna, la caposala
Francesco Lagi Francesco Lagi ... Lo psicologo Francesco
Giada Parlanti Giada Parlanti ... Psicologa riabilitatrice
Paolo Vivaldi Paolo Vivaldi ... Infermiere Basola
Alice Terranova Alice Terranova ... Infermiera
Chiara Arrighi Chiara Arrighi ... Infermiera tirocinante
Fabrizio Brandi Fabrizio Brandi ... Giancarlo
Maria Grazia Bon Maria Grazia Bon ... Suora Pia
Mimma Pirré Mimma Pirré ... Suor Diletta
Vladimiro Cecconi Vladimiro Cecconi ... Tecnico agronomo


Donatella and Beatrice reside in a psychiatric facility in Tuscany. They have very different life stories, but a chance to escape brings them together in an adventure that will change their lives forever and will help them realize the beauty in imperfection. Written by Dario Vaccaro

Plot Summary | Add Synopsis


All they wanted was a little bit of happiness.


Comedy | Drama


Not Rated | See all certifications »

Parents Guide:

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Italy | France


Italian | English

Release Date:

17 May 2016 (Italy) See more »

Also Known As:

Like Crazy See more »

Filming Locations:

Livorno, Tuscany, Italy See more »


Box Office


EUR15,000,000 (estimated)

Opening Weekend USA:

$5,799, 7 May 2017

Gross USA:


Cumulative Worldwide Gross:

See more on IMDbPro »

Company Credits

Show more on IMDbPro »

Technical Specs


Sound Mix:

Dolby (as Dolby 5.1)



Aspect Ratio:

2.35 : 1
See full technical specs »

Did You Know?


References Thelma & Louise (1991) See more »


Senza fine
Written and Performed by Gino Paoli
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User Reviews

a circular ride without disturbing the status quo
26 January 2017 | by lasttimeisawSee all my reviews

One of the key players of current Italian cinema, Paolo Virzì's newest offering LIKE CRAZY brings audience to the sun-drenched Toscana, where nestles a home for the mentally unstable (a picturesque mise-en-scène peppered with creditable employees and patients), there we meet Beatrice (Tedeschi), a motormouth screwball who can compulsively babble on and on as long as she can find an audience, and Donatella (Ramazzotti, Ms. Virzì in real life), a diffident introvert masked by her tattoo-embroidered body and punk appearance, who is ailed by depression and a tendency of violence.

Beatrice befriends the newly arrived Donatella, who becomes the newest recipient of her predominantly one-sided pattering, but Beatrice also reciprocally brings a pint of energy into Donatella's colorless life, for the clinical aspect, they transmit salutary influences on each other, a defining vindication of the existence of such communal facilities. One day, during a field day, when their pick-up is late, Beatrice impulsively dashes to a bus with Donatella tagging along, against others' opposition, hence the duo embarks on a journey fueled by spontaneous decisions and devil-might-care drollness, if not wholly realistic, a similar mode of Ridley Scott's THELMA AND LOUSIE (1991) except that there will be no place for body count and radical feminist manifesto to temper Virzì's well wrought combo of farce and drama.

The onus of farcical bombast is aptly falls upon the shoulders of Ms. Tedeschi, and it is pretty much up her alley to conjure up an inexorably flamboyant character takes no prisoners in her maniacal loquacity, verbally challenges, needles, assaults everyone she meets or around her, which sometimes feels too specific for an Italian-speaking context, her "crazyness" is unequivocally the driven force of the duo's on-the-run caper, but at moments when sensibility and sagacity is required, e.g. during the conversation with the foster parents of Donatella's son, she can also function as a qualified interlocutor who is not self-absorbed and eloquent enough to make her points clear. Yes, Donatella has a toddler son which she has to forsake due to her unwell conditions, and it is through Donatella's back-story, where clichéd scenario of a woman buffeted by unworthy parents, atrocious sleazes and a traumatic severance between a mother and her son hits all the notes, life renders her completely helpless and disillusioned, but even so, miraculously, buoyed up by Beatrice's undimmed vivacity and "craziness", eventually Donatello procures a glimpse of hope in the faintly mawkish encounter with her unwitting tot, to predictably affix a non-confrontational ending to this ostensibly rebellious yarn against bureaucracy, authority, patriarchy and the Establishment.

Both actresses register impressive performances albeit the script isn't always coruscating with golden ideas, Tedeschi dominates in her unfettered oomph and gumption while Ramazzoti diametrically sears in her distressed transmogrification, but it is the former's all-out flair entrances audience, not just being a brazen laughing-stock, underneath Beatrice's grandiloquent veneer, there lies a dysfunctional human being dragged into neurosis and illusion through her own dopiness and those inimical exterior forces, from this regard, both are nevertheless victims on similar grounds, but ultimately, it seems, Virzì consciously cops out to unleash its sociological critique and instead, sends a more anodyne message of a circular conclusion without disturbing the status quo.

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