TV Man (Te(L)o Comando)

It is bold of Italian screenwriter Leonardo Valenti to look back on work from as far back as 1997. Most of us can barely face looking at Facebook photos from 10 years ago, let alone a zero-budget homemade project inspired by indies of the time such as Clerks. But that is exactly what he has done with TV Man (Te(L)o Comando in its native tongue). This re-examination and re-release of his earliest work shows the eye of a filmmaker and scriptwriter was present at the genesis of his career – even if the edges on display are rough.

 

The film follows Marco, a young man getting ready for a big date who starts to realise that a man inside his television is talking to him. Dismissing his conversation as a hallucination, Marco starts to follow the advice of his new partner as he begins to realise that he knows little about how to win over women. But the help doesn’t come without a bargain…

 

TV Man is a fascinating rediscovery of a project from an age of indie filmmaking that has fallen out of prominence. Kevin Smith’s name is known today as a pioneer of indie cinema, but it is not until films like TV Man are looked back upon until his influence becomes clear to see. The irreverent humour, layabout everyman protagonists, inventive, raw dialogue and lo-fi atmosphere are all present in this Italian short project in which Leonardo Valenti directly credits Smith as an influence. And all stand out as strengths of the film as well. The odd framing around a self-aware, TV bound relationship allows for insightful commentary on relationships and self-growth that resonate when coming from a hungry young filmmaker.

 

Naturally a lot of the film looks rough, an understandable and obvious byproduct of handheld cameras from the 1990s being the primary mode of shooting. Given that the film was only released in 2025 for a wider audience, it is a striking reminder how far modern films fall when trying to recreate the specific look and vibe of indie films shot at the time. Where some of the look gets distracting, and the inherent limitations of camera quality impact on the visuals (particularly during scenes with the ‘TV man’ himself), there is an undeniable charm and fascination with this film from another time.

 

The film really isn’t much of a narrative as much of a vehicle for young filmmakers to pursue creative visual storytelling and push their meagre resources as far as they can. The obtuse plot, much like many of its genre, leads into strange and meandering territory designed to speak more of human nature than a defined journey. But TV Man is much more than the sum of these elements. Despite all its rough edges, it is clear why Valenti felt a pride in sharing such an original piece of work that could have easily been left in the vault. It is a sign that large budgets cannot trump creative vision and inspiration, and Valenti’s subsequent success should be inspirational to the young filmmakers of today wondering where their upstart projects could ever lead.

Now watch Patrick's review on our YouTube Channel - https://www.youtube.com/watch?v=lq_T-wkwrks