PLEASE NOTE - this is in Italian!
An Italian Movie - hat tip to Room 2015
Worldly Girl (2016)
La ragazza del mondo (original title)
1h 41min, Drama Romance
9 November 2016 (Italy)
When Giulia meets Libero, she discovers there may be another destiny awaiting her, as they embark on an intense period together. A choice that leads to Giulia being completely cut off from the Jehovah's Witness world she belongs to.
I believe the official website: http://www.bolerofilm.it/scheda_arrivo.php?id=36
Includes a link to the press book: http://www.bolerofilm.it/materiale/pressbook/la-ragazza-del-mondo-pressbook.pdf
Clips and Trailer below
The press book says, in part (via google translate)
I have always had great interest in the themes of identity, the construction of the person, of the relationship between individuals and society.
What religious orthodoxy is in my opinion an ideal setting to explore these issues, because the manifestation of individual will clash, inevitably, with those that are the ethical sovrastruttu king and the community thought.
Precisely for this reason, despite my film is dominated by a story complex, passionate love, I consider him a story by training and not a romance film. Love of Self, a boy from the past d ifficile, pushes the heroine in search of its identity, but it is not the end point of his journey: it is only the catalyst for change. The real emancipation of Giulia will come when he will learn to rely on their own strength.
This film speaks of a girl who becomes a woman.
Imagine a young man of eighteen who has a beautiful family who loves her, many friends, a life all in all quiet and that despite this, decides on her own to put everyone against. The only person who sustains it is the one for which she left home, her new love. That while it is the salvation, freedom, on the other hand it is also a threat in the eyes of her who is asked every day when we see if they have fatt or right, if it's worth it have hurt so many people to chase his own pleasure and feelings. Love has a huge driving force immediately. But then the problem is when the days and months pass, when you are glossier and cer ca to understand if you resist in a new world that has always been demonized in which he lived, however, knowing they will not belong to him, not recognizing themselves in its culture, its institutions, tolerating him.
The protagonist of the film is dominated by a strong burst of evolution that leads to upset his life. But it is a silent revolution that of Julia, shy heroine who makes no claims or monologues but acts and does not stop. The inner evolution of the girl, however, is slower and more complicated of his actions: do not you stop being a Jehovah's Witness from one day to another.
Julia also leads in fact married life the legacy of his religious education and even when it seems far away from his God back to invoke with prayer. Adherence to the "world" that we told is not a complete uprooting, Manichean. In Giulia continues to throb, so new and probably under track, a religious sentiment, a faith. But unlike in the past, it will be a faith that maybe potr à live with the search for a personal journey, an individual and not individualistic in the world.
I tried to be strict in the representation of Jehovah's Witnesses, building a world as real as possible. This was very important the study phase and documentation that accompanied the writing, during which I and screenwriter Antonio Manca we verified - through lectures, meetings with Jehovah's Witnesses and interviews with escapees, but also visits to the "salt of the Kingdom "- the adhesion of our script to reality.
However from the point of view of expression I am intentionally more free. If in general the acting and photography are in a naturalistic direction, and often the machine by hand contrib ute to the feeling of watching a real movie theater, in many cases directed it performs stronger and explicit choices: not with an intention Mannerist but to help give more lyricism, to gauge the emotional temperature, to increase the suspense and the drama of a scene. Sometimes then the machine by hand is replaced by the carriage, the diegetic music becomes extradiegetica, the sound is batting, the assembly becomes more expressive.