Cinema and Media

“Ketticè”, Giovanni Tortorici’s second film, is in competition at Locarno

In the running for the Pardo d’Oro is the second film by the Italian director who made a splash with his debut, Diciannove

by Andrea Chimento

11 August 2026

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3' min read

Translated by AI

Versione italiana

3' min read

Translated by AI

Versione italiana

One of the most eagerly awaited films in the Locarno Film Festival’s competition is directed by an Italian filmmaker born in 1996: “Ketticè” by Giovanni Tortorici is not a film we are highlighting in this way for patriotic reasons – quite the contrary – but because it is the second film by a filmmaker who caused quite a stir with his 2024 debut, “Diciannove”.

After working as an assistant on Luca Guadagnino’s 2020 miniseries *We Are Who We Are*, Tortorici made the transition to directing, partly thanks to Guadagnino himself, who produced both *Diciannove* and *Ketticè*.

In his previous film, Tortorici focused on a young university student who was restless and uncertain about what his future and his place in the world might actually be. *Ketticè* is a sort of symbolic prequel, as the themes are quite similar but are set within the world of secondary school pupils.

Set in Palermo in 2012, the film centres on Giulio, an apathetic and dissatisfied sixteen-year-old who goes through his days without any drive: no enthusiasm for school, no prospects for the future. His encounter with Ketty, a more determined girl of the same age, offers him an escape from the monotony. The two form a close friendship, a shared refuge in their quest for freedom, far from the judgemental gaze of the adult world.

Drawing on his own personal experiences (it is no coincidence that the director was exactly the same age as the protagonist in the year in which the film is set), Tortorici depicts the complex period of adolescence, whilst not shying away from offering a certain degree of criticism of the institution of the family and of a school system that ultimately risks clipping young people’s wings rather than educating them properly.

Ketticè

A very eye-catching style

Tortorici opts for an extremely flamboyant directorial style, frequently employing slow motion and eye-catching visual techniques, perhaps with the aim of trying to conceal some of the narrative shortcomings the film carries.

The messages from the Palermo-based author come across loud and clear, but there is an overall sense of repetition that somewhat limits the reader’s engagement.

The cast – comprising young newcomers, though notably featuring Monica Bellucci as the protagonist’s mother – is a mixed bag, ranging from the excellent portrayal of the lead character to the overly one-dimensional performances of some of the supporting characters.

Tortorici is a highly talented filmmaker and demonstrates this once again here, but the strength of *Diciannove* is somewhat diluted in this second feature, which, whilst still full of merits, could have been even more incisive and powerful given the director’s considerable skills. It remains, in any case, one of the most interesting films seen to date in the Locarno competition.

L’estate che finì due volte

The Summer That Ended Twice

Among the other Italian films featured in the Locarno programme, we would particularly like to highlight *L’estate che finì due volte* (The Summer That Ended Twice), Matteo Incollu’s feature film debut, which is screening in the Locarno Kids section.

The plot is in itself very interesting: at the age of eleven, Alessandra discovers she can see the dead and, in the dazzling summer light, decides to step away from reality to meet her mother, who had passed away years earlier.

Despite a few lulls in the middle, *The Summer That Ended Twice* is a successful debut film, in which Incollu skilfully conveys the fairy-tale atmosphere of a story that blends folklore with the trauma suffered by the protagonist.

The camera is positioned at the little girl’s eye level to create a film that, whilst imperfect, is captivating and features some truly remarkable visual moments.