Celebrated filmmaker Luca Guadagnino recently leveraged his platform at the 79th Locarno Film Festival in Italian-speaking Switzerland, not to discuss his highly anticipated OpenAI-related project, Artificial, but to ardently champion Ketticè, the sophomore feature from his former assistant, writer-director Giovanni Tortorici. Guadagnino’s fervent endorsement highlights a critical perspective on the current state of Italian cinema, which he controversially described as "sterile" and in urgent need of revitalization through authentic, visionary voices like Tortorici’s.
Guadagnino, known for critically acclaimed works such as Call Me by Your Name and Suspiria, served as a producer on Ketticè, a poignant coming-of-age drama set in Palermo, Sicily, in 2012. The film stars Salvatore Gallina, Rachele Testagrossa, and features an appearance by veteran actress Monica Bellucci. His decision to back this particular project stems from a deep-seated conviction about the trajectory of Italian filmmaking and the necessity of nurturing unique talent amidst what he perceives as a stagnant industry landscape.
Ketticè: A Glimpse into Disillusioned Youth
Ketticè immerses audiences in the life of Giulio, a listless and profoundly dissatisfied 16-year-old navigating the complexities of adolescence in a society shaped by the omnipresent influence of media mogul-turned-politician Silvio Berlusconi. Giulio’s days are marked by a profound lack of enthusiasm for school and an absence of tangible future prospects, embodying a generational malaise. His monotonous existence finds a potential escape through his burgeoning friendship with Ketty, a more self-assured and independent peer.
The film’s synopsis describes their bond as "a shared refuge in their search for freedom, far from the judgmental gaze of the adult world." Ketty, whose nickname in the Sicilian dialect lends the film its title, becomes a catalyst for Giulio’s awakening. Monica Bellucci portrays Giulio’s mother, a figure trapped within the confines of an aristocratic Sicilian family, feeling oppressed by its rigid expectations. The film’s visual narrative is crafted by Camilla Cattabriga, with editing by Marco Costa, while PiperPlay is managing its international sales, signaling potential global reach for this intimate Italian story.
The Historical Arc of Italian Cinema
During his press conference at Locarno, Guadagnino fielded questions regarding Italy’s illustrious cinematic past and whether his involvement with Tortorici’s film represented an effort to preserve that rich tradition. His response was an emphatic affirmation, accompanied by a detailed historical analysis of Italian cinema’s evolution and subsequent decline.
"Most definitely," Guadagnino stated, acknowledging the consensus that "historically, Italian cinema, from the silent times until the ’70s, generated some of the most important personalities in the history of cinema." He lauded the industry’s golden era, which "created a system that was the envy of many other countries," characterized by a diverse range of films being produced, from neorealist masterpieces to genre-defining works. This period saw the emergence of titans like Federico Fellini, Michelangelo Antonioni, and Luchino Visconti, whose films not only garnered international acclaim but also profoundly influenced global cinematic language.
The "Sterile" Italian Film Landscape: A Post-Berlusconi Critique
Guadagnino then pinpointed a pivotal turning point in this celebrated history: "the advent of private TV and the Berlusconi empire." He argued that this era marked a significant and detrimental shift, causing the once vibrant cinematic landscape to "dry up." According to Guadagnino, much of what was subsequently produced for cinema became indistinguishable from television content, leading to a profound erosion of distinct filmic identity.
He elaborated on the consequences of this transformation, lamenting that "genre was killed," stifling creative diversity and commercial viability. Furthermore, Guadagnino observed a problematic "pretension on authorship," where the noble concept of cinema as an author’s vision devolved into a self-serving practice. Filmmakers, he contended, began "writing scripts and shooting their own scripts so that they could define themselves as authors," rather than contributing to a broader, collaborative industry. This insular approach, coupled with economic pressures, resulted in the Italian movie industry shrinking dramatically. The "perspective shrunk," he asserted, rendering the "cinema of Italy sterile and totally devoid of an idea of language and of an idea of life."
Protecting Rare Talent: Guadagnino’s Vision for the Future
It is within this "sterile" context that Guadagnino sees Giovanni Tortorici as a beacon of hope and a rarity to be fiercely protected. "So when you meet a personality like Giovanni, who, of course, is an Italian filmmaker working in Italy, but I like to think that he’s a filmmaker, period, when you meet someone that is a complete rarity in the landscape of Italian cinema, you must protect it," Guadagnino declared passionately.
His commitment goes beyond mere endorsement; it extends to active mentorship and resource provision. "You must make sure that every stone is not left unturned in order to give him the means to express himself," he emphasized. For Guadagnino, introducing and supporting films like Tortorici’s is not just about individual projects; it is about "set[ting] up a pavement into the future" for Italian cinema. He believes this strategic support is crucial for fostering a new generation of filmmakers who can break free from the perceived creative stagnation.
Guadagnino further elaborated on the core philosophy driving his involvement, highlighting the paramount importance of "mindset." "It’s about the mindset," he stressed. "The mindset means how you do your stuff, what stories you want to tell, how you understand reality, how you interpret reality. How you run away from falseness is intoxicating for all its truth, all its incredible, vivid reality." This statement underscores his belief in authentic storytelling, a direct counterpoint to the superficiality he attributes to the post-Berlusconi film era. From an audience perspective, Guadagnino views Ketticè as a film that "really speaks in a very universal way," transcending its specific Sicilian setting to resonate with viewers globally.
Giovanni Tortorici’s Societal Critique and Future Explorations
Giovanni Tortorici, the director at the heart of Guadagnino’s advocacy, offered his own insights into the thematic underpinnings of Ketticè. He explained that his film delves into how fundamental societal institutions—school, family, and the state—collectively fail young people. "I think the guilty ones are the adults," Tortorici told reporters, attributing this failure to adults living within "a cultural context of the ultra-capitalist contest and a mediatic world." This perspective aligns with Guadagnino’s critique of a media-saturated, commercially driven environment that often prioritizes profit over genuine human experience.
Looking beyond his two autobiographically inspired features, Tortorici revealed ambitious plans for his cinematic future. "In my next movie, I’m going to explore something that is very far from me," he shared, indicating a desire to broaden his narrative scope. His experiences during the production of Ketticè in Palermo, particularly meeting individuals from challenging neighborhoods and diverse life experiences, have ignited a new direction for his storytelling.
"I find in these stories the possibility to continuing to explore this struggle of young people with authorities," Tortorici explained. He views the family unit, in particular, as a critical area for examination. "I think the big problem of society is the structure of, for example, the family. I think family is the structure that [creates] the next repressed person. So I would very much like to explore these different experiences in all parts of society, family in particular." This indicates a continued commitment to exploring profound societal issues through the lens of youth and institutional critique, signaling a promising trajectory for an emerging filmmaker championed by one of Italy’s most acclaimed directors.
Guadagnino’s vocal support for Tortorici and his sharp critique of the "sterile" Italian film landscape underscore a significant cultural debate within the country’s cinema industry. His actions highlight a proactive effort to safeguard artistic integrity and foster a new wave of authentic storytelling, potentially paving the way for a resurgence of diverse and meaningful Italian cinematic voices on the international stage.
