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In ‘Diciannove,’ Italian coming of age takes a literary turn, but ends up just as sticky

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Towards the end of filmmaker Giovanni Tortorici’s pop-up book-like coming-of-age movie “Diciannove (Nineteen),” there is a notable scene where Leonardo, the pompous and anxious main character played by Manfredi Marini who studies classical Italian literature in Siena, meets his cousin Zackari Delmas, a university student in Milan. Initially discussing their wild escapades, they soon find themselves arguing and complaining (about culture, language, youth of today, drugs losing their charm) which makes them seem like disgruntled middle-aged men lamenting about why things needed to evolve.

At the age of 20, it’s a ridiculously impressionable period to be certain about anything, but Tortorici’s chaotic first feature film vividly demonstrates that during this stage, youth is a whirlwind of vibrant temptations and obligations, like a rainbow-colored tornado. You’re the protagonist in your own self-centered, dreamlike saga, despite the fact that what you envision for yourself might seem simple and straightforward, offering a clear-cut interpretation about life’s purpose.

As a movie enthusiast, I found “Diciannove” pulsating with the tension between suppression and self-expression, echoing powerfully within Leonardo’s transformative 19th year. If you sense a kinship to the whimsical nuances reminiscent of Luca Guadagnino, the director behind “Call Me by Your Name,” it’s no coincidence. The fact that Guadagnino acted as Tortorici’s mentor and produced his debut autobiographical film is clear. The sensitivity and vitality with which Tortorici captures the turbulent emotions of adolescence is undeniable, leaving a lasting impact on viewers.

In this version, we encounter Leonardo as a teenager from Palermo struggling with frequent nosebleeds and lost in thought. His mother is relentless in her criticisms. He plans to attend business school in London, where his older sister Arianna (Vittoria Planeta) resides. However, upon arrival, after a series of wild nights with her friends and the feeling that he’s merely swapped one harsh critic for another, he unexpectedly decides to alter the trajectory of his academic journey and enroll as a literature student once again in Italy.

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Transition to the charming cityscape of Siena, accompanied by a grand baroque symphony. In this historic Tuscan town, Leonardo finds himself stirred by literary aspirations, enamored with medieval Italian authors such as Dante, and holding a contempt for the 20th century. Yet, this passion leads him to become a solitary, strict neoclassicist misfit who disregards his teachers, chooses books over more social companions, and continues to struggle with self-care. His withdrawal into an outdated sense of morality worsens his struggles with the practicalities of life (desires, melancholy, cleanliness, digital distractions), sending his quest for self-understanding spiraling through both personal and external chaos.

As a movie enthusiast, I must say that “The Headspace Travelogue” by Tortorici doesn’t shy away from its unconventional filmmaking approach. Massimiliano Kuveiller, the cinematographer, and Marco Costa, the editor, aren’t afraid to pull out all the stops, using a mix of creative camera angles, splits, tracks, smudges, zooms, smashes, jumps, needle drops, montages, and text cards. While it never becomes disorienting or annoying like “Euphoria”, at times, it can feel restless – a blend of spiritual and technical turbulence that occasionally distances us from our enigmatic protagonist when we yearn for a more intimate connection with him.

First-time actor Marini is an exceptional choice for the role. His casual enigma and those melancholic, mischievous eyes spark our curiosity – he manages to keep us guessing, ensuring that we never feel like we’ve seen this coming-of-age story play out a thousand times before.

In a somewhat unconventional manner, Tortorici doesn’t provide a neat resolution to his protagonist’s search. An intriguing interpretation by the affluent intellectual Sergio Benvenuto suggests that Tortorichi exposes the character’s pretense. Yet, as the cool night whispers goodbye, our hero, Leonardo, departs with a mischievous grin (reminiscent of “The 400 Blows”). In an instant freeze-frame, Tortorici has Leonardo trip on the cobblestones, symbolizing the wisdom that youth comes with its stumbles. Instead of dwelling on these missteps, why not embrace them as part of the journey?

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2025-07-25 22:31

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