In the 2000’s, the apparent moral and cultural vacuum that seems to suffocate the whole Country is represented on the big screen by some projects of strong impact. Fame chimica - Munchies (2003), by Boccola and Vari, narrates the days of a group of young people in the Barona quarter, touching the most up-to-date themes of integration and drugs. Lighter and self-ironic tones were painted in the "advertising" Milano described by Luca Lucini in the comedy L'uomo perfetto - The perfect man (2005). While in Happy Family by Salvatores (2010), filmed in a deserted middle-August Milano, a long black and white sequence hovering over the notes of a Chopin nocturne crosses the cult places of the City. More recently, Alessandro Redaelli with Funeralopolis - A suburban portrait (2017) paints the daily reality of two young heroin-addicted friends who share everything (home, rap, i murales), but not the dreams - beacuse they haven't.
There wouldn’t be much to be happy about if there wasn’t cinema, because only cinema has the ability to carry us into a plot, make us forget our lives for a couple of hours, make us reflect on what is near but also far ("zooming" on what we are seeing, or listening), and sometimes - when it’s really worth it - never die in our memory.