A documentary Riccardo Cremona, and Vincenzo De Cecco
is always a good exercise in putting oneself in others' shoes.
shame that hardly anyone who wants to do it because it is more comfortable in their stay.
shame that hardly anyone who wants to do it because it is more comfortable in their stay.
is an interesting journey that we offer the authors of this documentary. It starts from the Casino of Venice where the tests are taking place to elect the Miss of the largest Chinese community in Europe, and through Italy, from Brescia to Rome, to finally build a portrait of a community become a visible presence in our cities. Told this and yet so little explored and, if not during news events as the revolt of Milan's Chinatown merchants or milk contaminated by melamine scandal. A groped to make the gap so they try Riccardo Cremona and Vincenzo De Cecco , young authors of documentaries, this film appealing. Produced by the publisher Chiarelettere ( www.chiarelettere.it ), the film in a sense is the result of a successful essay "The Chinese never die" by Riccardo Staglianò and Raffaele Oriani , to whom we owe also the text that accompanies the DVD. Again So if the documentary is still one of the few areas in Italy where the images can freely do more investigation on reality, giving substance to that desire to know, investigate and possibly undermine cultural practices and prejudices of which we hear so much needs in these times.
Little Miss China is indeed an ambitious project because, while as we said, the Chinese are generally considered a closed community, impenetrable, made up of little men and women willing to integrate and participate in forms of collective life, committed only to work, on the other hand, everyone knows and uses categories and prejudices that give us the feeling to know already all about it. But how do they open their shops so quickly and their businesses? But restaurants who knows what you really eat? Who has not ever ask questions like that and try, with tones ranging from suspicious all'irragionevole, to find the answers. Perhaps for the first time an Italian documentary tries to climb over this wall built on a mixture of mutual distrust and prejudice. And as for the first time this community ceases to be a good phenomenon for an article of sociology to become a group consisting of humans in all respects. Behind the signs and window displays, in laboratories and warehouses crammed with goods, the Chinese, sweat, cry, dream. The protagonists, and this is also the ability of the two authors tell their personal and family privacy with amazing generosity, revealing the face of humanity that, not too deep, it looks like. The feeling for those watching the documentary is, in fact, that of a continuous surprise, but not so much because there are revealed great secrets, but because the images emerge from the interviews and a daily life made of desires and fears, sacrifice and desire for freedom .
One of the most significant in this sense are not always easy relations between generations, between those who arrived years ago and his sons, born in Italy. Gilmore moved crying thinking about the sacrifices made dreaming about the future of their children, or adults who complain that today's young people no longer know what work is, or the desire to empower themselves, to realize their kids, they resonate in fact very close our discourse and our concerns for the future. Among other things just the second generations, in a sense, is entrusted with the task of breaking the cliché saying how does a girls' interviews, which is more in life than work. That the future can be thought of differently.
In short, we realize how the Chinese in Italy are not so different from us. Like us, or rather resemble so to those Italians who left, the poor, to seek his fortune. Fortuna also one built and working hours without saving everything, with the ambition of the social ladder, to get away from misery and fatigue. And so the protagonists of this film becomes a sort of mirror that reminds us of the image as we were, while at the same time to build a portrait of Italians in contrast to today: how we became plaintive, frightened, resentful and suspicious, as radio listeners whose voices counterbalance those interviews.
Perhaps because, in a game of historical claims, we are afraid to return us to be the Chinese tomorrow?
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