They simultaneously decorate the stories of Eva, Giovanni, Filippo, Silvia, Federica, Martino, Niccolo and Sana on Netflix and TIMvision. And it is Sana that is the main protagonist of Skam Italia 4, of which we offer our review. In the first season of Skam – remake of the homonymous teen Norwegian series – created and directed by Ludovico Bessegato, the protagonists were Eva and Giovanni, in the second Martino and Niccolo and in the third Eleonora and Edoardo. The fourth season finally opens a window on the world of Sana, the young Italo-Tunisian with a straightforward, intelligent, motivated and determined Muslim faith.
During its 10 episodes, Skam Italia 4 brings us to know the most intimate and personal side of Sana, so far remained almost completely hidden. The structure of the fourth season is completely similar to that of the first 3. The main storyline dominates the narrative, while the other subplots cross it, interpenetrating and enriching it. Now let’s analyze the fourth season of Skam Italia and find out the reasons that confirm the success and success of the series by Ludovico Bessegato.
The plot: Sana
Sana, Eva, Federica, Silvia and the other guys in the group get ready to face the last year of high school. While the four friends organize the post-graduation holiday in Greece, Sana feels gradually cut off from the group. Her friends want to plan a trip in which to have fun, escape the rules and have some sentimental adventure. Sana, because of her strong religious faith, knows very well that certain types of entertainment are precluded; she feels the weight of the differences with her friends and the feeling of not being understood leads her to leave the group. Sana feels lonely and seeks comfort from her Muslim friends, but she doesn’t feel comfortable with them too.
The situation for Sana becomes complicated when she begins to feel feelings for Malik, a friend of her brother Rami. She likes Malik a lot, but the fact that the boy has abandoned the Muslim religion leads her to believe that for the two of them there cannot and should not be a future. When Eva seems to feel something for Malik too, the fracture in the group deepens. During a chat with Martino, Sana realizes that maybe her feeling misunderstood also depends on the fact that she herself has never completely opened up with her friends. Sana thus faces a path of growth that will lead her to find a balance, both as an individual and within the group.
As we anticipated at the beginning of our review, Skam Italia 4 is a journey in 10 episodes in the most intimate and personal part of Sana ( Beatrice Bruschi ). The whole parable of Sana allows to face themes and deal with important and profound topics. The entire training path of the young protagonist is centered on the difficult search for balance. Sana prays, respects Ramadan, proudly wears a veil that represents a feminist choice for her, follows and believes with conviction in the rules imposed by her religion. Sana, however, is also a nineteen year old who loves to have fun, go to parties, go out with her friends, enjoy her freedoms.
He feels the conflict between his “Tunisian side” and his “Italian side”, to the point of not feeling adequate. She believes she is not a good believer and is afraid of the judgment of the friends of the Muslim community in Rome; she feels the weight of diversity from school friends and experiences differences as an insurmountable obstacle. Towards the middle of the series, Sana realizes – thanks also to a comparison with Martino ( Federico Cesari ) – that the best way to find a balance and finally feel at peace is to accept and fully open up with important people. And it is finally showing every nuance of herself to others that Sana finally finds stability andhe understands that he does not have to adapt, but only to openly live every “part” of his being.
A new and attentive look at the Muslim community in Italy – Skam Italia 4, the review
To tell the world of the Muslim community in Italy in the most careful and real way possible, Ludovico Bessegato made use of the collaboration of Sumaya Abdel Qader. The sociologist and writer collaborated with Bessegato supervising the script of Skam Italia 4 and also worked closely with Beatrice Bruschi. The young actress has long been with Sumaya and her family and has transferred her experience to the character. She learned the ritual gestures of daily prayers, studied the pronunciation of some words in Arabic, came out covering her head with a veil. Really appreciated, for example, the care in showing in detail the stages of preparation for prayer or the ritual way in which Muslims interrupt their fast during the month of Ramadan.
The result of Sumaya Abdel Qader’s advice on the script and Beatrice Bruschi’s immersive work shows all its fruits in the series. This result translates into an accurate and non-stereotyped portrait of the Muslim community in general and of a second generation Italian in particular. Sana’s character – like that of his brother Rami ( Ibrahim Keshk ) or Malik ( Mehdi Meskar) – opens an unprecedented and never rhetorical glimpse of the difficulties of second generation young people in our country. Difficulties that arise from confrontation with others but also from internal conflicts that are often difficult to solve. Especially in a society like ours, where there is still a long way to go regarding true, complete integration.
We continue our review of Skam Italia 4 with some considerations of a slightly more technical nature. The structure of the series, even in this fourth season, remains almost unchanged. As already mentioned, the main storyline revolves around Sana and the subplots dedicated to the other characters are carried out in a parallel way. While we are witnessing the path of our protagonist, we follow the events of Giovanni ( Ludovico Tersigni ), Niccolo (Rocco Fasano), Elia (Francesco Centorame) and the other characters already mentioned. A winning narrative solution, structurally clear and balanced, which continues to work.
Even the fourth season of Skam alternates moments of deep reflection with others that are more fun and relaxed also here, then, to dominate is the realistic and sincere portrait of a group of teenagers in which it is easy for the teen audience to identify. In the panorama of teen drama, one of Skam’s undisputed merits is to show situations and use a language that facilitates fruition even for the most adult audience. From this point of view, Skam Italia does not run the risk of being unattractive or unfit even for spectators outside the target for which it is designed. The performers, once again, are convincing and perfectly suited to their roles. Direction and photography show coherence with the other seasons; further confirmation of a solid global vision at the base of the series.
At the end of our review of Skam Italia 4 it is certainly clear how the overall opinion is largely positive. Ludovico Bessegato’s series continues all its strengths by showing that it still has something to say. One of the main qualities of this season is the ability to deal with complex topics with great balance, maturity and attention. Without limiting too much the hand and showing plausible reactions to situations of daily difficulties, Skam Italia proves to be unique in the Italian serial panorama.
Wanting to find a fault, during the 10 episodes film in streaming in which the series is articulated, some minor subplots work less than others and some solutions seem a little hasty. The last episode – following the example of the Norwegian original – closes the main stories of the characters. A leave that is at times melancholy, but which returns well the feelings of the protagonists (and why not, also of the spectators), at the end of the story.