Bonnie (Sabrina Siani) and Billy (Fabio Meyer) find themselves stranded on a tropical desert island after a plane crash. Together, they will have to overcome their predicaments to survive.

From literary works as Robinson Crusoe by Daniel Defoe from 1719 to movies like The Blue Lagoon from 1949, the idea of being stranded on a desert island, away from civilization, was explored in different mediums with dissimilar approaches. Directed by Luigi Russo and Enzo Doria, Due gocce d'acqua salata is closer to The Blue Lagoon (1980) than it is to the aforementioned. It has many resemblances to Randal Kleiser's feature but many differences as well. It could be said that its simpler approach renders it one without the profundity The Blue Lagoon had and that tension is something in lower doses as well. Considering the proximity of the releases, it would be tempting to see in this movie nothing but an exercise in exploitation. The story progresses as expected, our two young protagonists finding in each other a reason to survive and be joyful while in a situation like this. Although sometimes it is not enough and sentiments of time standing still and missing their loved ones prevail.

What Due gocce d'acqua salata offers, that The Blue Lagoon did not, is more of a sensual approach. By reason of Sabrina Siani often being bare-breasted, evoking in Billy a blooming desire hitherto dormant owing to, according to him, his coach's insistence on being absolutely focused on the game and training, the movie explores coming-of-age in a very sexy fashion. It is full of takes where Bonnie is relaxing on the beach or by a waterfall with the sun kissing every inch of her skin, enhancing the idea of the wilderness from the setting but also offering alluring visuals.

Ultimately, it is a movie very honest in its approach and with an entertaining narrative that blends adventure, sensuality, and humor. The latter is mostly due to Mario Pedone's Shanghai and the uncertainty his inclusion adds to the story.

Italian cinema has deeply influenced world cinema through its socially conscious realism and modernist experimentation, but it also flourished in popular genres like peplum (sword & sandal), giallo thrillers, and broad comedies. Its narratives often weave together politics, contemporary social change, class consciousness, and family dynamics, balancing artistic ambition with entertainment that resonated widely.

Lamberto Maggiorani in Bicycle Thieves (1948)

The adventure genre features exciting journeys, quests, or expeditions undertaken by characters who often face challenges, obstacles, and risks in pursuit of a goal. Adventures can take place in a wide range of settings, from exotic and fantastical locations to historical or even everyday environments.

The drama genre is a broad category that features stories portraying human experiences, emotions, conflicts, and relationships in a realistic and emotionally impactful way. Dramas delve into the complexities of human life, often exploring themes of love, loss, morality, societal issues, personal growth, with the aim to evoke an emotional response from the audience by presenting relatable and thought-provoking stories.

Mahershala Ali and Alex R. Hibbert in Moonlight (2016)

The romance genre features the theme of romantic relationships and emotional connections between characters. These stories focus on the development of love, desire, and intimacy between protagonists, often exploring the challenges, conflicts, and triumphs that arise in their relationships.

Ingrid Bergman and Humphrey Bogart in Casablanca (1942)

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