Futuri Aprili is a multimedia art project that narrates the sensitivity of young subcultures towards important social issues, from the perception of one's own body to the vision of the future.

Selected through street casting, the interviewees are heterogeneous and yet linked by their belonging to an age of transition; neither children, nor adults, nor adolescents, but that smoky figure that Francesco Bonami and Raf Simons called 'The fourth sex' in his work “The Fourth Sex: The Extreme Territory of Adolescence”.

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Their interiority finds a means of expression through a fashion film, a podcast and a fanzine.

The fashion film guides the aesthetics of the entire project, reinterpreting the documentary narrative and mixing it with the filmic fiction of the environments. The poses are static, minimalist and almost photographic, but accompanied by the real and heartfelt voices of the subjects filmed. The camera frames in an intimate and introspective manner to allow us to get closer to the interviewees, while the editing, dynamic and present, gives the video a contemporary and more commercial language, without however distancing it from its narrative nature.

Each interviewee is stripped of their places and made to converge in limbo, an abstraction of the mind. In contrast, some subjects are reproposed in external locations to represent liminal spaces, that is;
“Physical liminal spaces are easy to identify: a lift, an airport, a bridge, a train. All places where one spends a time - more or less long - waiting to get somewhere else. However, there are also less immediate liminal spaces, namely psychological ones, which can be divided into emotional and metaphorical. The former accompany life transitions: a divorce, a move, adolescence itself.. “ (Biancamaria Cavallini, Il Sole 24Ore)

Similarly to these locations, youth is treated as a condition naturally imposed but artificially elevated to a rite of passage and therefore considered a liminal mental space.

 

The podcast gives more space to voices, their pauses and light tremors. Where editing is forced to take away, each audio episode restores, reminding the viewer of the three- dimensionality and facets of the interviewees. At the same time, the fanzine inspired by the first issues of the magazine I-D, founded in 1980. offers us a vision of fashion, where the interviewees represent their identity using fashion as the main context.

The three narrative channels - fashion film, podcast and fanzine - are emblematic of a trinity of historical eras capable of embracing an entire century of the Italian past. In fact, the title itself turns out to be a tribute to a poem by director Pier Paolo Pasolini entitled "Supplica a Mia Madre", in which he combines the words "Futuro Aprile" as a poetic representation of a "spring-like", i.e. happy, future.

'Aprili' also refers to the word 'springtime', which most commonly in English etymology is a synonym for the word 'youth'. The choice of the tribute is due to the fact that Pasolini is also the author of the project's main film reference, namely 'Comizi d'Amore', a 1963 film that was one of the first to deal with such themes in a documentary key and to give a space to youth cultures to talk about themselves and the future they see ahead of them.