Forever Young

Those who were young in the eighties is now a parent and in some cases even a grandfather. Often you do not feel the age that they have and maybe not even show it, but the registry is clear. Fortunately, there are also those who are able to make fun of themselves, those who like to call themselves vintage, those who joke with the years that pass, with the flab that has incorporated the slender girl of the past or the baldness that has thinned the hair of the coolest boy in high school. But there are also those (and perhaps it is the majority) in a fortunate and opulent society in spite of everything, in which appearance counts more than being, does not resign and squander the salary in gyms, fashionable clothes, retouching aesthetic and engaged with someone half their age. They are the ones who do not accept the inevitable course of life. They don't feel old enough to spend time with their grandchildren and often make a fool of themselves.

It is this humanity that Fausto Brizzi recounts in his ninth feature film Forever Young, in which, after investigating the world of adolescents and the dynamics between the sexes, he stages a group of characters who think that denying the limits of their bodies due to advancing age is enough to define themselves as young.

So here is the woman close to fifty who, for lack of adequate human material, lets herself be tempted by an affair with a boy almost thirty years younger, only to realize that the love he has to give her is a bit sticky and embarrassing. Or the well-kept 50-year-old man who lives with a student but cheats on her with a woman half his age; with whom he shares memories, musical tastes and interests.

They are confused, in crisis, they have no reference points and in their attempt to keep up with a world that has already overcome them, they are also nice. The rapid development of technology, a society ruined by television, celebrities coupled with girls who could be their daughters or grandchildren led them to try.

In short, Forever Young is more than a satire of costume, (with a soundtrack that ranges from the Eighties with classics such as Total Eclipse of the Heart and Forever Young, in fact, to the Nineties with Alright by Supergrass ), is a pleasant film, perhaps the funniest film shot by the director, where you laugh a lot, thanks also to the excellent cameos of Riccardo Rossi and Nino Frassica, and a comedy situation well rendered by the excellent actors.