Once in a while, a movie comes along about a topic seldom discussed in order to delve into universal concepts of love, sex, friendship and family. Duccio Chiarini’s debut film Short Skin does this, using a condition of the penis called phimosis as a trigger to discover what it means to grow up and become an adult. The tale of young Edo’s (Matteo Creatini) struggle to own his sexuality despite his affliction and the hyper-sexualized environment in which he lives, served Mr. Chiarini as a way to probe the implications of love and sex in adolescence. We met with the director and talked about his inspiration, the personal aspects of his film and the filmmaking process.

How did you learn about phimosis, and what about it inspired you to make a film about a character struggling with it?

I was reading a graphic novel by an Italian artist called Gipi, and the novel was about his loss and the past and women. There is a beautiful scene in which he goes to see a doctor about his penis. When I saw that scene presented on a piece of paper, I realized how delicate and important and relevant it was. I decided to tell my own story of when I was sixteen and had that experience. So, it’s a personal story about what it meant for me to become a sexual person when I was sixteen. What I went through with girls and parents and discovering life.

There is a scene in which Edo lends the girl who likes him, Elisabetta, a book. When she returns it, Bianca, the girl he likes, asks to borrow it. The book is one of the catalysts that helps to change Edo’s life, but the audience doesn’t know what book it is. Can you tell us?

Norwegian Wood by [Haruki] Murakami, which was also published as Tokio Blues years ago.

Was it something that you had read?

Yeah, I love that book. The reason why we chose [it] is that during the rehearsals I needed an object to perform the action, so I picked it up from my library. It happened accidentally. Then I realized that it was not so accidental because the content of the book had to deal with adolescence and isolation and loneliness. Then I started realizing that it actually made sense that they read that book because it’s tragic. It’s very sad. It’s nothing to do with the tone of the film, but there is a sense of isolation and loneliness [in the movie]. I gave it to the actors to read. Out of all the talks we had came the letter that Elisabetta writes to Edo. [The audience doesn’t] know what it’s about, but for them it was important.

How did you discover Matteo Creatini?

Once we knew that the film was going to be made, I immediately opened a casting. Matteo was one of the first people I saw. But because he was very energetic--he’s a rapper in real life-- I immediately cast him in the role of [best friend] Arturo. And then it took me ages, I couldn’t find my real protagonist, so at some point I asked him to perform in a different role. He did an amazing job, and then I went for him.

Wow, it seems like he was tailor-made for the role of Edo.

Yeah, he’s very talented. He’s an amazing guy.

There is a scene in which Edo fences. Does Matteo fence in real life?

He used to. What I found funny is that fencing is something that is uncommon. There is something very overt in the way he moves, so something like fencing which is normally a very noble sport, in his hands becomes awkward. I like that, so I wanted to put it in one scene.

What about the other young actors? Are they unknown?

Yes, for all of them it was the first experience on screen. Francesca Agostini who plays Bianca studied acting at a very good school, but she had just come out of the school. And then the rest, it was their first time. Actually, Mariana [Raschillà, who plays Elisabetta] did a film before. Nicola [Nocchi, who plays Arturo] and Bianca [Ceravolo, who plays Edo’s little sister] are new.

What kind of atmosphere did you try and create on the set?

The set was very familiar, cozy and very friendly. People had decided to work for minimum salary. An all young crew. There were 25 [people in the] crew, not very small. But all very young and enthusiastic. It was very nice.

Tell us a little bit about the choice of music in the film.

The original story was supposed to be set in the '90s because it was my story. I had the idea to use the music of Grant Lee Buffalo, a band I loved at the time and still love. But then we realized it didn’t make too much sense to isolate ourselves back in the past. So we set it nowadays. My producer played some music for me. I said, “I like this. I like that.” And we came across Woodpigeon, a Canadian band. We found that the atmospheric sound of old country rock stayed very well with the film. So, we went with something less Italian and more universal and personal.

What does it feel like to have your film play in festivals all over the world, including the 2015 Open Roads: New Italian Cinema series at the Film Society of Lincoln Center?

It’s a beautiful feeling. I was just talking to my producer, telling him I’m very excited. I know it’s not a competition, but New York is a city I love. I normally come here a lot, as soon as I can. Being part of this is amazing.

Short Skin played at 2015 Open Roads: New Italian Cinema at The Film Society of Lincoln Center.