Generation 56K, the new Italian Netflix series in eight episodes, produced by Cattleya and created in collaboration with The Jackal and set between the island of Procida and Naples, will be visible from 1 July. The generation evoked by the title – which refers to the alphanumeric identifier of the modem – is that of the young people of the nineties for whom the arrival of the Internet was comparable to an authentic revolution, still struggling with floppy disks, VHS videotapes and Walkman , but which have now grown and adapted to a hyper-technological world, making smartphones and apps an integral part of their lives, from work to free time, from friendships to sentimental encounters. The director is Francesco Ebbasta for the first four episodes and Alessio Maria Federici for the last four, with Angelo Spagnoletti and Cristina Cappelli playing the role of the two protagonists, Daniel and Matilda, in the adult version. With them, also two members of the comedy group of The Jackal, in the role of friends: Gianluca Fru and Fabio Balsamo; in the cast also Biagio Forestieri, Claudia Tranchese, Federica Pirone, Sebastiano Kiniger, as well as Alfredo Cerrone and Azzurra Iacone as protagonists as children. together with their old friends they are the symbol of the ‘generation of the 56K modem’: they live a relationship that will revolutionize their world and force them to come to terms with the past and with that purest and most true part of themselves that in opposite ways they have Forgot. All the episodes of the series constantly intertwine the two timelines of the same love and friendship story that starts in 1998 and continues to the present day. “Generation 56k was born from the idea of a novel, never finished; because if there is one thing we in the 90s are really good at, apart from karaoke, that thing is not finishing what we started – underlines the director of the first four episodes, Francesco Ebbasta – Generation 56k is a love story and this romantic chase by Daniel and Matilda is the background of a choral story, in which each character puts on the table contemporary problems, questions and reflections: are you really happy with your perfect marriage? Why are you so scared to have a child? Have you ever been afraid of meeting someone that you only frequented on social networks? Each character, with his or her point of view, tends to dismantle the relational stereotypes we grew up with in a comedy or drama key. ” The director of the last four episodes, Alessio Maria Federici explains that he “tried to differentiate the position of the camera in all situations with children, lowering it to what is their point of view basically determined by their height, thus giving a different proportion compared to the adults and the environments that our little protagonists find themselves living in. Generation 56K is my first experience in seriality and for this reason it was a challenge and a continuous discovery of novel narrative “. For Davide Orsini, head writer of ‘Generation 56K’, “the very difficult and fascinating challenge was to be able to tell both who we were and who we became. For this reason all the episodes of the series constantly intertwine two timelines, two points of view, two worlds near and far : the island of Procida in 1998, where our protagonists are thirteen-year-old boys struggling with the first hormonal changes and with an Int very slow ernet who kept his home phone busy; and the Naples of today, where they live for thirty-five-year-old adults, hyper-connected via smartphones but still looking for their permanent place in the world “. Francesca Longardi di Cattleya reveals in the production notes:” When Francesco Ebbasta shared with us the first notes of that which would later become ‘Generation 56K’, we had the clear perception of finding ourselves in front of a coming-of-age novel in a millennial key: fast and romantic, ultra-pop and cinephile, technological and melancholic. Ebbasta’s was a very clear vision of who we were and who we have become. In his words we read an authentic and powerful voice, an urgency of storytelling accompanied by a natural propensity for comedy that struck us deeply “.
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