La Festa is the story of a generation organizing an event just for the sake of filming it, and ends up to be subject to the unexpected rules this imposes them. The story of a group of teenagers abducted by four adults and forced to fight for their life while challenging each other, is the starting point not to reflect on what you see, but on how it is shown. But it is not the classic found footage of many famous point-of-view movies, that is shaking, with no soundtrack and editing. It is a real movie, that someone has carefully shot, edited (also changing the narrative chronology) and post-produced.
La Festa presents itself as an operation of cinema terrorism in the genre of Pov movies on one hand, and on the other side as a story of a youthful angry passion for cinema, able to transcend the laws of life and death. The character of Matteo, with his camera, an apparently unwilling witness of the tragedy, is actually a manipulator, an organizer, a mind using the actual circumstances to shoot his own debut film, for which he’s willing to sacrifice everything and everyone. Until the final vindication of his work, his signature, his status as an author.
But Matteo’s movie is much more made by form than substance, because his teen mates are less rebellious and furious than those seen in movies of the genre, quickly accepting what happens to them, subject to the rules imposed by the intruders as they would do with those, foolish and unjust, of any reality game.
La Festa works on the mediation of the event, it tells the story of a person who finds himself with a camera in his hand in the middle of an exceptional event. And who decides to become not just a witness, but a manipulator, a director of reality. The connection, made on purpose, with the Republic of Salò and the fascist dictatorship of the image, implants in the movie a parallel link between those who have imposed the falsification of reality and those who have decided to accept it without even fighting it.
La Festa is the fruit, the result of a boy who wanted to make a movie at all costs, using the little human, economic and inventive material that his young age could offer him. He did, risking his life for a movie. Because making a movie is far more important than how you make it.