Solo Mio (2026)

Solo Mio, directed by Alice Waddington, tells the story of a teenager obsessed with his music teacher, exploring the limits of forbidden attraction in a school setting. The central conflict lies on the moral and anthropological plane: the tension between passionate impulse and the natural law of filiation and authority. The work realistically portrays disordered youthful affections, without glorifying them or resolving them into empty sentimentalism, but with scenes of implicit sexual tension that rate as PG due to innuendo and physical proximity, without explicit nudity. Absent of graphic violence, the language is mild, with everyday dialogues. Philosophically, it questions free will in the face of disordered passions, recalling the classical doctrine on the cardinal virtues: temperance as the guardian of authentic freedom. There is no ideological smuggling; on the contrary, it underscores the consequences of abandoning oneself to unbridled affections, inviting reflection on the ecology of relationships. The family emerges as an implicit refuge from the 'house taken over' by emotional disorder. For parents, it offers an opportunity for dialogue about chastity and maturation, but requires guidance due to the thematic intensity. It contributes to human flourishing by showing sin not as a norm, but as a call to personal redemption, with glimmers of grace in the suggested repentance. Rigorous in its portrayal of the human heart, it avoids nihilism and opens to wonder at the transcendence of ordered love.