- Sting Like A Bee is a film in which reality and fiction meet with the main objective of giving voice to the young teenagers who populate an often unknown reality, that of small towns in central-southern Italy. Teenagers who have stories to tell, but above all dreams to realize, and who share a great passion for Api Piaggio. It's precisely through the camera and this crossover between real and docu that a higher objective can be achieved. To give these teenagers the chance to take the space they deserve and to be the protagonists of their lives. By allowing them to be part of a larger narrative through fictional stories, the young protagonists, without being actors, bring out their personalities, seeking a place in the world and the visibility they deserve.
- A journey towards personal affirmation, a great passion for Api Piaggio. A strong sense of community and camaraderie is what unites the young guys of the Trigno Valley, the river that divides Abruzzo and Molise, between San Salvo and Montenero. Through the casting of the documentary and the prologue in the style of a newsreel, inspired by Pier Paolo Pasolini's Comizi d'amore, we tell the story of the place through an interweaving of voices of those who live and experience these areas. The eyes of the young protagonists guide us through this often unknown reality, that of small towns in central-southern Italy. Villages that lived on agriculture until the end of the 1970s, based mainly on the cultivation of the percoche, which some young people, our protagonists, continue to practice scraping some money for the summer, but above all to "pimp" their Ape Piaggio. The attention, care, and passion they put into this gesture have become a real way of life for them and the signature of their personality. Starting with the casting and letting the production side enter the film, an archive of faces, interviews, and family portraits follow one another, suggesting different and exciting stories. Getting to the heart of the stories of a group of guys in the middle of their adolescence, we also deal with deeper social issues such as misinformation in the area of sexually transmitted diseases, to offer a comprehensive insight into these realities. It is precisely through the camera and this crossover between real and docu that we aim to achieve our highest goal: to give young people the chance to take the space they deserve and be the protagonists of their lives. By allowing them to be part of a bigger story through fictional narratives, the guys bring their personalities to light by finally putting themselves on the line. After the casting and the prologue, we follow the fictional main stories of two teenagers, Martin and Ludovica, intent on identifying and hiding a corpse, and that of Manuel who, while helping his two friends with the mystery of the corpse, has to face a bigger fear: that of having contracted a sexual disease. With the closing of the two fiction stories, and the backstage, the voice of the director accompanies us towards the final race of the Api Piaggio and the inevitable end of summer.
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