The time of the teenagers suspended or sneaked into the pandemic in the movie “Nothing wrong”

“For me, time can be finite or infinite, it also depends on emotions. It depends on what happens to us. Time can be a long or short line. ” “Time is everything, while the future is a black hole. We expect beautiful things from the future, things that make us happy … but this is often not the case. What is time? Is it shaped? How to measure the suspended time of those preadolescents who have seen how childhood escaped in the midst of the pandemic? It is in an attempt to answer these questions that, with the help of a newspaper first, after a camera, was born. Not bad with the film presented at the world premiere at the Bologna Biografilm Festival with the presence of directors Davide Barletti and Gabriele Gianni.


The project

Produced by the Cinemovel Foundation (itinerant cultural project for the design and sustainability of cinema and social media initiatives in Italy and abroad) in partnership with the Italian Children’s Aid Center (CIAI) and the company social With children for the fight against youth educational poverty. , the film is an introspective and self-reflective journey into the minds of sixth graders, only eleven years old, with the aim of investigating their emotions, feelings, concerns: the story of a generation through the story of a cross section of it. A story that, on closer inspection, sometimes proceeds negatively, otherwise, through non-definitions; as the impossible moment for one of the protagonists, Riccardo. However, it is also around these formulations that the image of the degree of “well-being” of young people is concretized.. How are the young people? They, who have seen the transition from primary school to secondary education fade during the pandemic, which is still in the background here, have shown themselves to be extremely capable of enduring, accepting, and adapting. to a new normal.. All this also arose thanks to the specific strategy adopted for the realization of Nothing wrong, as the directors, after a first moment of storytelling workshop between the pages of a newspaper, entrusted a group of boys and girls from all over Italy a little video. camera, actually shooting a movie from a distance even in the most personal and private moments of home. Directors and young people have never met in person, only through the filter of a screen. But the latter, if on the one hand it can be read as an element of separation, on the other, is what contributed to a spontaneous, sincere story, without intermediation and direct confrontation with adults.

What emerges

The personal qualities and character of the boys, however, do not even seem to be able to be relegated solely and exclusively to the contingency of Covid: “It’s not that I really like school,” Riccardo confesses again, “But I have to put up with it. I have to get used to it.” A life “crushed”, even more by the virus that does not leave us, but that activates mechanisms of “resilience” without too much rage: this is the point of view of Roberta Paltrinieri, professor of sociology of cultural and communicative processes at the Alma Mater va call to draw some conclusions about the instrument of first-person shooting and a generational situation. “What is striking is their awareness and consequent acceptance,” he adds, “the ability to use technology to reflect on oneself, to talk about oneself, to keep in touch.” A slightly different generation than we often explain, such as the film strategy adopted. A countertrend? “For us, breaking the mold basically meant stepping aside and giving the children the apparatus of the story. -explains Davide Barletti-, because most films with children and adolescents as protagonists have an expectation built on the mental schemas of adults. In giving the camera, after the path of the workshop of writing newspapers and interviews in the classroom, we understood that the right way would have been to eliminate the top-down process proper to the production of a film. Leaving the camera in their hands meant allowing them to express themselves without fear of making a mistake. Without fear of not being up to par, which is one of the risks inherent in the encounter between adolescents and adults.

Collaboration with teachers

The material, at first glance, seemed almost “a disaster, with blurry plans and views” that did not live up to expectations, but in the editing phase the revelation: “What seemed like a big confusion, went turn out to be a fragment of his life, with his own eyes and not those of adults, “the directors continue. American sitcom, to the point of preferring one that lives more with the heart, to see the greatest torments in remorse. first, adds Gabriele Gianni, through collaboration and dialogue with local teachers and partners, so it is not just the camera, but the whole process that has tried to break the mold, from the story first as a group, in the classroom, then as an individual, ”at home.” For a researcher, this film it is a textbook of sociology – concludes Paltrinieri -, for parents a means with which to start taking notes, to metabolize, to face ”even the toughest situations. Like Riccardo who, returning to school, expects an unhealthy welcome from his classmates, who are even better off without him; yet he returns to the stops, trying to “do nothing wrong.” Here is the title of the movie, which also hides the other meaning: nothing, no one is wrong.

The newspapers

The project was born from afar thanks to an intuition from Cinemovel, a cultural project dedicated to traveling cinema and the communicative potential of the cinematographic medium. In 2018, the Saltaclasse project conceived by Ciai and selected by Con i bambini for the fight against youth educational poverty starts. Film workshops with the participation of first grade high school students from various cities in Italy. In the year 2020, with the outbreak of the pandemic, the moments of encounter disappear and the Saltaclasse project seeks a new life. Thus was born the idea of ​​making time diaries, giving the 300 young people involved a tool to explain their thoughts and emotions through the past, present, future and dreams. Newspapers, therefore, were not just on paper.

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June 18, 2022 (change June 18, 2022 | 16:23)

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