The Italian Boys is released on all major streaming platforms from 18th October 2020
From the rugged coastline of the Adriatic to the clear blue waters of the Mediterranean, The Italian Boys weaves a rich tapestry of enthralling LGBTQ stories. Each film in NQV’s new collection, emanating the neorealist beauty and diversity of Italian cinema at its very best. The result is one of the finest collections of curated short films released by NQV to date. The complex and enthralling collection on offer delves into a broad range of themes from regret to early desire and freedom. While at the same time bathing the audience in the trademark Italian energy, sexuality and artistry we love.
The Italian Boys opens with the stunning Uproar (Pipinara), directed by Ludovico di Martino. The year is 1975, and a group of young men wander through life, earning cash through petty crime; the streets of Rome, their playground. But, when one young man accepts an invitation to enter the world of prostitution, events take a darker turn. Here the games of adolescence are replaced by a night that will lead to the death of a famous director, just as his latest film premieres – the violence of his final moments an echo of the brutality of his final picture, Salò, or the 120 Days of Sodom.
READ MORE: Salò, or the 120 Days of Sodom
Next is Tidal Time (L’ora di porto) directed by Dario di Viesto, a story of love, control and loss on the rugged Italian coast. Our journey begins when a father and his young son embark on a fishing trip on the glistening moonlit sea. But what starts as a standard fishing trip soon becomes a moment of near tragedy as the young boy falls overboard, his father diving into the water to rescue him. However, as the boy grows into a young man, his father’s overly protective nature fragments their relationship. And as the undercurrents of the boy’s emerging sexuality swim to the surface, a tsunami of fear and control engulfs their secluded cottage.
The undercurrents of emerging sexuality also find a voice in our third film, The Dummy (Il manichino), directed by Renato Muro. Here a young boy finds himself enthralled and fascinated by a discarded shop, mannequin. The chiselled body of the expressionless male dummy, captivating through the window of his apartment block as it lies broken, damaged and abused. But as the young boy’s interest grows, so does his belief in saving the dummy at all costs. Here the first glimmers of sexuality and desire are caught in a childhood dream of wonder and imagination.
Sometimes those first feelings of sexual desire are suppressed as we journey into teenage and adult life; the reasons for this can, of course, be plentiful, from family barriers to career choices and beliefs. But the result is a life lived in mental boxes, where sexuality is kept firmly under lock and key. Within these themes, our fourth film Lazerus Come Out (Lazarus vieni fuori), directed by Lorenzo Caproni, finds its voice.
Local priest Don Valter cares deeply for his parish and flock, his life bound by tradition and heartfelt beliefs. However, when an ex alter-boy studying at university arrives with a troupe of actors, the priest is caught off-guard. And when the youngsters announce that they wish to stage a performance of The Rebirth of Lazarus, the priest is confused but encouraging. However, as the performance gets underway, old feelings and emotions bubble to the surface, unlocking feelings long since buried.
Finally, Glue (Colla), directed by Renato Muro, explores the boundaries of friendship, the first sparks of love and embers of regret. Domenico sits on the verge of adulthood, his wild adolescent years coming to an end, alongside a volatile relationship. Seeking solace, Domenico visits his best friend Antonio’s house but soon finds himself alone with Antonio’s younger brother, Lallo, a boy who is just starting his journey into teenage life. But as Lallo and Domenico spend a day revelling in playful pranks, swimming and conversation, one boy’s youthful optimism sets the other free from the pain of regret.