
Jerry O'Donnell arrives from Ireland to be with her father in America. However, she soon finds living with her stepmother unpleasant, Jerry leaves home and encounters John Garland, a millionaire, now a widower, whom she knew in Ireland.
“To be universal, you have to get specific”: while the film does not attempt to provoke discussions about queerness or race, those watching closely may find something resonant in Sorrentino’s love letter to the Naples of his youth.
The trouble with Yara (2021) is that in its attempt to tell the whole story, it struggles to tell a consistently engaging story.