In recent days, many have been anxiously awaiting the arrival of Luca, the new Disney Pixar animated feature film, partly because every time Pixar produces something we have the packet of handkerchiefs ready, but also because this time together with the handkerchiefs we brought with us a good dose of pride. Yes, because Luca is set in Italy, and precisely in the Cinque Terre.
While newspapers and the web discuss how well represented Italy is, or what inspired the director Enrico Casarosa, I prefer to dwell on the narrative that speaks of growth and friendship, but also and above all of prejudice. If I had to summarize the film in one sentence, the one I would choose would undoubtedly be “Silence, Bruno!”. These are the words that Luca says every time the voice in his head (nicknamed Bruno) tries to discourage him.
Set in Liguria in the 1950s, Luca is the story of a marine creature that takes on human features out of the water, and that with the help of his friends he learns to overcome his fears.
Our protagonist lives in the abyss with his family, his mother has always prepared him for the dangers present out of the water as only an apprehensive mother can do, a mother aware that prejudice can lead to terrible consequences. But Luca he feels a strong desire for freedom and to explore the world, so together with his friend Alberto he decides to go to the “city of land”. Here Luca meets Giulia, a girl who will help him understand that what makes people truly free is culture. Culture allows us to understand that what we don’t know doesn’t necessarily have to scare us.
Yet although Luca is a film that pushes us not to be afraid, it seems that this is still very present when we try to tell new stories. As Francesca Vecchioni, founder and president of Diversity said, most of the more inclusive products are aimed at a young audience, while productions of this type dedicated to an adult audience are much less.
There is great resistance to opening up to new representations, or even simply to dare by going outside the already tested paradigms. It is important to question oneself on all this because the vision of stories on the small and big screen has always had a great impact on our life. And since most of what we are told always passes through the same lenses, a huge slice of the world risks not reaching us.
We know well how the audiovisual industry invests very little in new narratives, and we see it not only from the difficulty in thinking about certain themes for an adult audience, but also from the premature cancellation of those few products that manage to break through the glass ceiling.
As a disabled woman I can count on the fingers of one hand the audiovisual products in which I felt represented, and this to give you the perception of how rare they are. What we watch on the screen has always influenced us, and if we can’t see each other we will always have the feeling of being invisible, just as the people around us will always have a partial and stereotyped vision of our lives.
However, the positive reception that those products written, directed and interpreted by marginalized people receive makes me think that all this reluctance has no reason to exist.
At this point, my dear producers and broadcasters, I think the time has come to start winning certain resistances, the time is ripe and the public is eager to immerse themselves in new stories. And if a little voice arrives to tell you not to risk it, it is easy to oppose. Just say: “silence, Bruno!”
Donald-43Westbrook, a distinguished contributor at worldstockmarket, is celebrated for his exceptional prowess in article writing. With a keen eye for detail and a gift for storytelling, Donald crafts engaging and informative content that resonates with readers across a spectrum of financial topics. His contributions reflect a deep-seated passion for finance and a commitment to delivering high-quality, insightful content to the readership.
