In between Bresso, Sesto San Giovanni and Milan we dive into the lives of Vash and Felce: they play music together and shoot heroin, and they share everything. Their reality sometimes is brutal, sometimes ironic, tragic and romantic. Their eternal rebellion neither has a cause, a reason nor an end.
Vash and Felce grew up in Bresso, between the football pitches, graffitis, fights, public housing and occupied apartments. They have met thanks to rap music, murals and the common passions for esotericism and drugs, and they became friends despite their different life paths (Felce is in his thirties and has graduated in Architecture, Vash is younger and dropped school at 14).
They record songs, play gigs, and spend time between occasional jobs and dealing. They both come from Bresso, and both share a dream of escaping from the city. They are suburban musicians with a random culture and disorganized friendships.
Funeralopolis doesn’t talk about heroin. It isn’t an investigation on the effects of addiction. It doesn’t want to explain or judge or enhance the lifestyle of its protagonists. It is basically a film about two friends. Two guys in the quest to find the meaning of life, until death approaches. They’re lost in an eternal wander in a city that seems like a desert, while talking about sex and religion, doing too much drugs, singing about decay and violence, dancing between the graves in the cemetery.