TV Man

Leonardo Valenti’s TV Man is the kind of scrappy, imaginative zero-budget short that reminds you why DIY cinema has such enduring charm. Shot in 1997 with nothing more than an S-VHS camera, two VCRs, a small audio mixer, and the enthusiasm of three friends, the film plays like a spirited love letter to the era’s guerrilla filmmaking - echoing the textures of Clerks, Slacker, and early Rodriguez, but with a distinctly Italian wink.

The premise is delightfully absurd: Marco, prepping for a date with the girl of his dreams, is interrupted by a man who suddenly appears inside his television, a figure who not only speaks to him but has a mysterious request. What unfolds is a playful dance between hallucination and reality, a slapstick escalation that leans into comedic chaos while still holding emotional stakes. The narrative is simple but sharp, driven by timing, eccentricity, and a clear understanding of what makes surreal comedy tick.

TV Man | Film Poster

Director : Leonardo Valenti

Rating: ★★★★☆ (4/5)

The premise is delightfully absurd: Marco, prepping for a date with the girl of his dreams, is interrupted by a man who suddenly appears inside his television, a figure who not only speaks to him but has a mysterious request. What unfolds is a playful dance between hallucination and reality, a slapstick escalation that leans into comedic chaos while still holding emotional stakes. The narrative is simple but sharp, driven by timing, eccentricity, and a clear understanding of what makes surreal comedy tick.

Valenti’s direction is confident in its limitations, embracing them rather than trying to hide them. The DIY ethos becomes part of the story’s flavor, rough edges included. His youthful energy is unmistakable, and the film’s inventiveness foreshadows the skill set of a future established screenwriter. The playful pun of the original Italian title Te L(e)o Comando shows the filmmaker’s early knack for cleverness both linguistically and creatively.

Highlight Quote: A zero-budget spark of pure DIY creativity, TV Man proves that imagination - not equipment - makes a film unforgettable.

With a single S-VHS camera, Valenti crafts a surprisingly dynamic visual palette. The cinematography uses tight framing and smart angles to heighten the absurdity of Marco’s predicament, while the grainy texture gives the film a nostalgic, analog warmth. The limitations of 1990s home-video technology become part of its aesthetic identity - scruffy, intimate, and completely charming.

The lighting is pragmatic but effective. Practical household sources and natural exterior light give the film a realistic, lived-in feel, grounding the bizarre premise. What could have looked flat instead feels intentional, low-budget lighting used as a tool for authenticity rather than a constraint.

The performances are rooted in chemistry and spontaneity. Marco’s reactions carry the comedic rhythm of the film, while the titular “TV Man” brings a wonderfully oddball presence that drives the story. Because the cast consists of friends working outside formal constraints, the acting has a relaxed, improvisational quality that fits the film’s slapstick tone perfectly.

Knowing the film stayed unseen for decades before being rediscovered and eventually selected by over two dozen festivals, including winning an Audience Choice Award at Indy Film Library’s Experimental Showcase in 2025 - adds a layer of poetic justice. It’s a testament to how authentic passion projects can find new life long after they’ve been made.

A spirited reminder of the magic hidden in homemade cinema and a delightful rediscovery of a filmmaker’s earliest leap into storytelling.