review from the editors
Wednesday October 28, 2020
The 18-year-old Vittorio is a « winner »: a charismatic leader, high school graduate, engaged to the beautiful Costanza, surrounded by loyal friends. But he is invited to appear at the police station: he would have posted a child pornography video during a party. Sofia is 16 and has a crush on a boy who has already shown her interest. They end up having sex in a shed at a party: it’s a shame that someone films them and spreads the video on the internet. Ada is 14 and a close friend who approaches the group of popular girls and she risks being left alone. For fun, she signs up on a dating site and immediately catches the attention of Mirko, who asks her about his intimate photos.
These are the incipits of the three stories, for a total of ten episodes into which the series is divided file, based on the example of the Norwegian format of the same name, but adapted to the Italian reality by the director Laura Luchetti and the chief author Emanuela Canonico.
It is a journey into the world of young people, immersed in social networks and smartphones and unprepared to perceive their danger. The series therefore harbors potential and risk: the potential is to serve as an alarm bell for both children and their parents so that they do not fall into the traps of the web and high technology; The risk is to paint reality as a minefield full of predatory males, in which girls always have to look around and over their shoulders and regulate their sexuality with extreme caution.
The female directing and writing team carefully develops the three stories, which move independently of one another and do not intersect, gradually detach the young protagonists from the role of victim and prepare a path of awareness for Vittorio: all encouraging signs, not involuntarily creating one Psychosis and especially not giving the girls a bad news instead of paying attention. Perhaps the most useful element is the description of the dynamics that are repeated the same way around the world (at least in the West) so that teenagers can recognize and avoid them.
Luchetti and Canonico (along with the authors of the episodes and scripts Matteo Menduni and Giulio Fabroni) pay attention to details and some key phrases that characterize the dynamic. In the episode of Vittorio they sow the gradual awareness of the protagonist who is also the target of our culture and its socio-economic environment, as well as in the episode of Sofia, very explicitly from the point of view of the act, they are adept at not allowing sex between boys doing is voyeuristic, and in Adas they can convincingly portray the protagonist’s vulnerability to showing herself. But the series suffers from a lack of justice beyond spontaneous repentance and risks discouraging victims of revenge porn or any other form of criminal use of images from filing a complaint.
Luchetti’s camera in the hands of camerawoman Sara Purgatorio (one of the rare dop women in Italy) is aimed at the very young actors, all of whom are credible in their respective roles (with a merit grade for the newcomer Anna Agio in the role of Ada and for Alessandro Bedetti in those of Daniele in the episode Vittorio) let us smell the smell of their skin. The narrative is layered and enriched with background figures sketching a colorful youth landscape, but the focus is on the need not to isolate oneself, especially as a result of a breach of trust.
Files will be useful to parents and children and could be an educational vehicle in schools. A stronger author presence would have freed the series from its didactic intent, as would more attention to show the criminal consequences of certain initiatives. Self file will have a following as we wish, because we understand its meaning, Luchetti will be able to more courageously move away from the aesthetic of teen seriality, from It’s a shame about Italy continues and ventures into a more primal authorial dimension, and the series will also illustrate effective reaction dynamics not only of an individual, but above all of a legal nature.
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