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UN BACIO

Lorenzo is a teenager who arrives in Udine because adopted by a family after he had experienced previous negative experience of adoption. Lorenzo is openly gay. Blue is the daughter of the owner of a business and an aspiring writer. It has a reactive character because at school, and on the walls, is called ‘a slut’. Antonio is the son of a security guard and weighs on him the presence of his elder brother died in an accident. They ‘a skilled basketball player, but his teammates consider him a retard. Attend all three of the IIIA to Newton High School.
The films that have as subject adolescence and its problems have firmly embedded the word ‘handle with care’. Because the risk of rhetoric and / or the stereotype are present at every single line of the script and in every choice of recovery, acting, editing and soundtrack. The viewer is often before a pattern sadly well-defined. It deals with a boy or a girl is marginalized and the adults around them who are represented or as minus habens or totally unable to take an interest in them both in the family and outside of it.
Ivan Cotroneo, who wrote the screenplay with Monica Rametta reworking its own story, knows how to stay away from negativity above to give us a portrait height of great sensitivity and courage adolescence. Courage because the situations are addressed frontally without softening and also because, as already Vinterberg in The suspect, did not fear to stand against animal rights by using hunting as an initiation rite. Sensitivity because these Jules, Jim and Catherine of our day and age quite another (the tribute to Truffaut is explained in the three-way race scene) are not limited to being characters, no matter how well constructed, but are now the people with their fragility and their stances. Blue that writes itself to the future ‘not to forget’. Lorenzo that flaunts security but needs to take refuge in the imagination to find that admiration that the world of peers denies. Antonio, as skilled in sport as introverted and closed in relating to others. All three know the family environment in which we meet parental sensitivity different but, in their own way, are capable of love and understanding. Those who do not pack the refusal are the companions such as emerging leaders in treachery and bullying (equally divided between males and females) but still ending to be all complicit even when they are passive witnesses of abuse. The size of this town, with the magic of its nights ‘old’ and the brutality of the media now available to everyone, defines the context of the narrative.
“I do not want my son to be ‘tolerated'” says Lorenzo’s adoptive father before the headmaster and a teacher particularly insensitive. Cotroneo endorses this statement without yielding to the temptation of the pamphlet strongly reaffirming the right of everyone to live their own lives and their emotional dimension according to the times that are not dictated by a social context that is presuming to regulatory in this area. Lorenzo, Blue and Antonio come out well from the screen to enter the memory of the viewer in the space where are the films that are never forgotten.



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