Giovanni Carpanzano’s Empty (Il vuoto) is a story of star-crossed lovers in a contemporary setting, told with Shakespearean-era theatricality.

Theater actor, director, and coach Giorgio (Gianluca Galati) is running an acting class, when in walks in Matteo (Kevin Di Sole), invited by his girlfriend, a current student of Giorgio’s. Matteo begins taking private lessons from Giorgio, and the two find they have an undeniable connection, finding a sanctuary together from the challenges pulling them apart.

A unique quality this film brings is its incorporation of Shakespearen-era storytelling and techniques into a contemporary setting. A commonly seen approach to adapt Shakespeare into the modern-day on a narrative or textual level, but here the classical is evoked more through the storytelling techniques, the approach rather than the word. In several instances, the lead characters make asides, statements meant for themselves and the audience, not heard by those around them. They’re confidently embedded into the action, not an interruption, and are a unique flourish tying the story back to the theatrical tradition literally acted out by the characters. The staging is similarly theatrical, with recurring abstract scenes set in undefined space, as expressionistic images that would feel commonplace on stage, and on film all the more striking.

The theatricality also extends to the performances, often broad and occasionally over-the-top, surging the story beyond melodrama into camp. Matteo’s mother is absurdly evil and homophobic (for the 2010s), lurking through hallways and snooping through her adult son’s room to monitor his love life. Matteo’s girlfriend (who is unfairly shafted in all this) is similarly cartoonish, especially in a scene where she confronts Giorgio by following him onto a bus, slowly removing her sunglasses and revealing her identity, as though she’s the villain for defending her honor.

From a character standpoint, Empty features traditional archetypes like the star-crossed lovers of Giorgio and Matteo, plus the humorous, sometimes vulgar side character of Giorgio’s sister, and a mentor / guardian angel figure who cares for Giorgio when he’s hit his lowest. (It goes without saying that Shakespeare has influenced essentially all modern storytelling, but these archetypes stand out even more so when framed within a Romeo and Juliet-esque narrative.)

Empty certainly does not always work. It is understood that the two young lovers are fated to not be together, but the emotional strain feels unjustified. The ultimate reasons pulling them apart – economic agency, and Matteo not having the means to live on his own if his parents kick him out – come out very late and underdeveloped. The substantial passage of time is not felt either, and a passing comment towards the end reveals they have been together for five years, despite nothing indicating this relatively long-term relationship for two young adults.

While on a story and occasionally performance level, Empty is uneven or underdeveloped, its theatrical boldness elevates this story of star-crossed lovers into a uniquely dynamic combination of classic and contemporary, an old-fashioned romantic tragedy for our times.

Empty is available for digital rental & purchase from Amazon Prime Video.