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Luca Guadagnino produces this limber coming of age debut about a year-old Italian literary student. After reading the script of Nineteen , Guadagnino stepped up to produce through his Frenesy label. There is certainly an impression here of the kind of artistic freedom, for good and bad, that few first-time directors enjoy.
But while Nineteen occasionally feels like a student film — complete with an unhealthy number of jump-cuts and random zooms — it finally reveals itself to be a formally audacious coming of age story which exerts a hold even when Leonardo is spending long hours in his room absorbing the works of obscure 18th century Italian writers or scrolling through Justin Bieber dickpics on his laptop.
In his first major role, Marini finds his way tentatively into the character of Leonardo in a way that suits the character well. Though there are a couple of golden-hour shots of the historic Tuscan town, we mostly hang out with Leonardo in his dingy student digs.
Deep down, Nineteen is a comedy, with a profound sympathy for its confused protagonist, who is left alone to struggle with identity issues that could so easily turn into mental health issues. Leonardo is a late teenager profoundly embedded in digital culture — but he hates it when his friends and family make grammatical mistakes, and becomes obsessed with the works of a seventeenth-century Jesuit writer and the gruesome Catholic martyrdoms he describes the film breaks these out out into sequences by two Rome-based artists, illustrator Nora and animator Margherita Giusti.
