The project addresses a particularly dramatic and, unfortunately, still very current issue: stalking and gender-based violence against women. The short film stands out for its original narrative approach, alternating moments of intense drama with grotesque situations, consciously choosing to sideline the figure of the woman as a victim.
This choice stems from the desire to move beyond the now widespread slogan “No to violence against women!” to advance a more proactive message: “Yes to men who take care of themselves!” The intent is, in fact, to clearly indicate who must take responsibility for breaking the cycle of possessiveness and objectification of their partner.
I have tried, even in just 14 minutes, to convey how much he, the man, believes he is right, but how all this feeling of “right,” never guilty, destroys the family, the thing he claims to love madly. At the end, a scientific statement is quoted that highlights the dramatic consequences of violence experienced within the family unit, especially for children who are witnesses and indirect victims.
The work emphasizes the dark vortex of desperation and confusion in which the woman’s family lives: their desire to help and put an end to the suffering and anxiety, but their inability to find the right path to do so.
Originally conceived as a story divided into three distinct parts, “Plastic Madonna” has been reworked into a more nuanced structure, depicting three different days marked by the escalation of the family crisis and the man’s possible rethinking. At the same time, these parts can also be interpreted as non-linear moments of the same day, thus accentuating the sense of confusion and disorientation.