Set in 1977 in a remote valley of Ticino, the Italian-speaking region of Switzerland, Becaària tells the story of 16-year-old Mario, who has just failed his end-of-school exams. His failure leads to a harsh confrontation with his father, with whom he shares a difficult and emotionally strained relationship. Lost and uncertain about his future, Mario drifts without direction. His father, who runs a small petrol station in the valley, had imagined that his son might one day take over the business, while still hoping he could build a broader future for himself. Disappointed and angry, he sends Mario into the mountains to stay with a farming family.
What begins as a punishment gradually becomes a turning point in the boy’s life. Mario is expected to learn discipline and the value of physical labor, but the experience teaches him far more than that. In the mountains, he enters a world governed by nature, routine, and necessity. Life there is harsh and unsentimental, yet it also offers a sense of freedom that sharply contrasts with the tensions of his home life. Little by little, Mario adapts to this environment. He learns to work, to endure, and to observe. More importantly, he begins to understand himself. In this quiet and subtle way, the film becomes a poignant portrait of adolescence and the search for identity.
An important role in this transformation is played by Prisca, the farmer’s daughter. Confident, lively, and self-assured, she opens a new emotional world to Mario. Through her, he experiences desire, intimacy, and the awakening of first love. Prisca is not merely a romantic figure; she also serves as a catalyst for Mario’s development. Their relationship brings warmth and tenderness to the film while deepening its reflections on youth, freedom, and self-discovery.
Becaària is based on a 2011 novel by Giorgio Genetelli. Erik Bernasconi, who wrote and directed the film, worked on the screenplay on and off for more than fifteen years. This long creative process is evident in the film’s careful structure and tonal precision. Bernasconi also made an important change to the source material by expanding the character of Prisca. In doing so, the film opens itself to broader questions about social roles and the place of women, even within its historical setting.
One of the film’s greatest strengths is its style. Becaària is almost poetic in tone, yet it remains grounded and unpretentious. The screenplay is precise, the dialogue restrained, and the narrative unfolds with quiet confidence. The camera captures both characters and landscapes with great sensitivity and nuance. The scenery of Ticino is especially important: shown in all its beauty and variety, it becomes a visual companion to the film’s shifting moods. The mountains, fields, and valleys are not merely a backdrop, but an essential part of the film’s emotional atmosphere.
The performances are equally convincing. Francesco Tozzi portrays Mario with vulnerability, seriousness, and adolescent awkwardness, making the character deeply believable. He avoids exaggeration, allowing Mario’s uncertainty and gradual awakening to emerge naturally. The supporting cast is equally strong, contributing to the film’s authenticity and emotional coherence.
With his third feature film, Erik Bernasconi has created a timeless and deeply relatable coming-of-age story. Becaària speaks about youth, work, desire, and identity with delicacy and honesty. The title itself — an Italian dialect word referring to “a city slacker who comes to the mountains to get some fresh air” — captures both the irony and the transformation at the heart of this memorable film.
Madeleine Hirsiger
Edited by Anne-Christine Loranger
Copyright FIPRESCI