One of the effects that great films can sometimes have is to offer hope to those who momentarily feel lost, to remind us that we can learn from our mistakes, and to show that people are capable of overcoming their differences to build a more united and compassionate world. This is precisely what Margherita Spampinato achieves in her debut feature. A restless and irreverent boy and his elderly aunt—devout and perpetually grumpy—are forced to spend a summer together. In the old Sicilian house where she grew up, a place inhabited not by Wi-Fi but by ghosts, their worlds inevitably collide: speed and slowness, hyperconnectivity and spirituality. Structured in three clearly defined acts, Gioia mia is supported by strong performances from both its young cast and their adult counterparts. Its expressive power is further enhanced by bold artistic choices—chiaroscuro lighting and frequent handheld camerawork—that shape a film grounded in warmth and emotional resonance. The film had its world premiere in competition in the Cineasti del Presente section at the 78th Locarno Film Festival, where it competed for the Golden Leopard.