Abstract (EN):
Piergiorgio Corallo’s “Non si vede” becomes the official theme of The Hostel, a German short film exploring the violent and fragile adolescence of Berlin’s outskirts. Directed by Lukas Weber and competing at the New Filmmakers Festival Berlin, the movie uses Corallo’s track as a sonic counterpart to its realism — a heartbeat beneath the city’s broken rhythm.
Kurzfassung (DE):
Piergiorgio Corallos „Non si vede“ wurde als offizieller Titelsong des deutschen Kurzfilms The Hostel ausgewählt, der die raue Jugend der Berliner Randgebiete beleuchtet. Regie führte Lukas Weber; der Film läuft im Wettbewerb des New Filmmakers Festival Berlin und verwendet den Song als emotionalen Puls inmitten der urbanen Härte.
Full article (EN):
Title:
“Non si vede”: an Italian alt-rock track becomes the heartbeat of Berlin’s raw adolescence
Subtitle:
How Piergiorgio Corallo’s music meets the dark realism of The Hostel, a German short film about violence, friendship, and fragile dreams in the city’s forgotten outskirts.
When Italian musician and visual artist Piergiorgio Corallo released “Non si vede”, few could have imagined the song would travel north and return transformed — refracted through the lens of a German filmmaker capturing the restless adolescence of Berlin’s margins.
The track, originally part of Corallo’s debut album In via di sviluppo, is an exercise in controlled tension: an alternative-rock heartbeat layered with subtle electronic textures, whispered vocals, and an atmosphere suspended between hope and decay. Its title, meaning “it’s not visible”, evokes what resists disappearance — the invisible energy that moves through damaged places and people.
This autumn, the song found an unexpected home. “Non si vede” was chosen as the main theme of The Hostel, a short film by Lukas Weber, a 27-year-old German director whose work dissects urban adolescence with almost documentary precision. The film is set in the outer districts of Berlin — gray, improvised, and half-forgotten spaces where abandoned factories coexist with immigrant housing and underground clubs.
Weber’s camera doesn’t chase violence; it observes it as a daily language. In The Hostel, fights and tenderness coexist in the same frame, and the characters — a group of teenagers suspended between rebellion and resignation — drift through nights where everything seems provisional: love, shelter, even identity.
What binds them together is the search for a sound, a heartbeat that still proves they are alive. That heartbeat became “Non si vede.”