Youtopia

"Youtopia" (2018), directed by Berardo Carboni, is a film that attempts to tackle complex themes such as financial despair, the use of the body as currency, and the alienation brought about by technology. However, despite its ambitious intentions, the result is deeply uneven. On one hand, the film features standout moments, such as Matilda De Angelis's performance, which brings a captivating honesty and vulnerability to her character. The relationship between her and her mother, played by Donatella Finocchiaro, is believable and painful, with a constant tension regarding the morally questionable decisions they are forced to make. The social critique present in the plot, particularly regarding the objectification of women and financial exploitation, is disturbing and, in many aspects, effective. The cinematography is one of the highlights, with well-composed images that convey the emotional weight of the characters.

On the other hand, the film suffers from the unnecessary inclusion of virtual reality scenes that do more to hinder than enhance the narrative. These scenes are confusing and disjointed, as noted by one critic, and seem to distract from the central drama, undermining the overall tone of the work. The attempt to blend the virtual with the real lacks subtlety, resulting in a final product that feels forced rather than enriching the emotional conflict of the characters. Another problematic aspect is the pacing. The slow pace, which could serve to build an atmosphere of growing despair, becomes tedious at times. Additionally, the film's ending is, at best, ambiguous, leaving some important issues unresolved in a manner that feels more like a rushed conclusion than a thought-out ending. In summary, "Youtopia" has good intentions and some powerful moments, but stumbles over narrative elements that make the experience confusing and at times frustrating. The film explores relevant themes but lacks a cohesive execution that does justice to the depth it aims to achieve. The mother's attitude in "Youtopia" is undoubtedly one of the film's most disturbing issues. From the beginning, we see a maternal figure who, instead of protecting her daughter and seeking more dignified alternatives to handle their financial difficulties, pushes the young woman into prostitution. It is almost impossible not to question the role of a mother who should be a guardian and moral reference for her daughter, but instead chooses to throw her into a degrading situation with apparent remorse.

The fact that she is a single mother already raises suspicions about her past choices. The film itself alludes to her history by mentioning that she "gave" herself to another man before the father of her daughter, suggesting irresponsible and promiscuous behavior. Instead of learning from her mistakes, she perpetuates the cycle of degradation, now using her daughter as a tool to solve financial problems. This decision seems to reflect not just desperation but a total disregard for her daughter's emotional and physical well-being. By allowing her daughter to be "auctioned" for her virginity, the mother completely abandons her role as a protector and becomes complicit in a process of exploitation that places the young woman in situations of extreme vulnerability. It is difficult to watch this film without feeling anger at a mother who not only fails to protect but also actively and directly pushes her daughter into a life of prostitution, without concern for the devastating consequences this may have. In the end, the film makes it clear that this mother is a weak and irresponsible figure, unable to deal with her own past mistakes and who prefers to sacrifice her daughter's dignity rather than seek more ethical and humane solutions.

When a desperate need to make money to save their house befalls an Italian mother and teenage daughter, they turn to the old solution of selling their bodies. There is also the problem of housing the grandmother who is helpless without their support. Unlike the past solution of prostitution, the two use the Internet to sell their bodies remotely by the use of a webcam. Well acted by the leads, there is little actual exposure to titillate the viewer but the director relies on an attractive cast to tell the story and as it unfolds, their desperation creates a tension that needs to be resolved one way or the other. Kept me watching and the photography is excellent.

Youtopia is a catchy title, as is Matilde de Angelis. The result of the feature film, however, is ambivalent. On the one hand there is a strong Italian characterisation, the slowness, the interpretation of the characters; on the other hand there is the message: Youtopia is about those things that are not said but are there.

The film, recognised as being of cultural interest with a contribution from the Ministry of Culture and Tourism, plunges us at first into a dark seabed, only to re-emerge in the silence of two fishermen, father and son.

Then a series of scenes follow: a woman exercises at home in front of a motivational video.

Remember Cinderella? We took her to Eurodisney!, the fisherman father - Alessandro Haber - upon finding the toy begins to brood thoughts that we do not understand, that his son does not understand either.

The woman, Laura - Donatella Finocchiaro -, talks to her coach, but to no avail. A provocative girl dances as she undresses a little, winking at no one knows to whom.

The setting is all Roman. Perverse games take place accompanied by classical music, in the shadow of a seemingly perfect, if not wealthy, family. In parallel, we are shown another family unit consisting of a grandmother, mother and daughter. They sell their car and look for work, in financial straits they have to pay the mortgage on their house that has been foreclosed.

Suddenly there is another backdrop, which sounds like the real one, but virtual. Animated by strange creatures to be killed with the complicity of another player, unknown in reality, but very close in acquaintance. During the game session, one communicates in another language, English, which emphasises the detachment of the virtual world from the Roman provinciality.

The motivational DVD is thrown in the bin, like so many things in metaphor. The generational difference is blatant and real.

In front of the product by Bernardo Carboni and Valerio Palusci, one can overlook the not always perfect interpretation, in front of a very well-done photography and simple, but profound and never banal dialogues.

The poetic juxtapositions of images and words give the feature film a non-negligible depth, especially for the topics it deals with, which should not leave us indifferent.

Looking for and being able to recognise who and what, in the midst of hell, is not hell, and making it last, and giving it space. The quotation to Calvino is textual and strong in the middle of the short film.

It is not very evident, but there is in the feature film a change in the format of the video between reality and virtual reality, which also becomes the format of the last scenes, with a precise meaning linked to the ending.

Culture is the red thread of the film: La traviata, Italo Calvino, Monet. Everywhere art is disseminated, salvific art, mirror art of the world of all time.

What is Cinderella, if not the symbol of our innermost dream of what we would like to be or have?

Worst film I have seen in my life, terrible camerawork, boring and flat characters, dull storyline and stupid scripts. The animation was a disaster and the actors gave me the ick. So baaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaad! And the grandmother was constantly talking about pigeons !!!!! It doesn't make any sense. I do no get the reference. I'd rather be with a fever than watching it again, they probably had a small budget but still I believe the bit more than they could chew and it looks trashy and cheap! The location of the film is supposed to be Rome but it doesn't translate to the screen and the film is overall confusing. I laughed instead of being invested in it.

Director Berardo Carboni stages a small title which, although not entirely successful, offers interesting insights and several moments highlighted by the intriguing camera movements that illustrate in a direct and uncensored way the pain felt by all the characters, who literally and metaphorically undress in front of the screen in an exemplary way, starting with the young Matilda De Angelis who demonstrates all the frankness that hides the fragility with which she voluntarily lends herself to satisfy the fantasies of the users, and the relationship with the increasingly desperate Laura portrayed very well by Donatella Finocchiaro, while Alessandro Haber shows all the depravity mixed with pure dissatisfaction of a man destroyed by the apparent emptiness that struck him in his relationship with loved ones and in a life where all the most precious moments are senseless.

All the characters seek in the body, their own and that of others, an escape route, a solution to their problems of various kinds which, however, is not found as their the spirit is further buried depriving them of real fulfillment, trying to recover what has been lost with shortcuts that move away from reality, unable to build real relationships and imprisoned in the web searching an ephemeral consolation devoid of any solid concreteness, thus losing those few grams of human awareness, lowering with the growing risk of never getting up again.