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A film critic with philosophical interests wonders about the nature of Nature and tries to capture it with his phone camera. Kaleidoscopic, playful collage, sometimes fiction, sometimes documentary, the film cannot help but wonder about the nature of cinema itself.
L’arte di Mario Merola è stata multimediale: canzone, teatro, cinema. Ma è soprattutto alla sceneggiata che ha legato la sua fama e la sua grandezza: un teatro dei poveri, un’arte popolare che Merola affrontava con un’adesione e un’autorevolezza totale. Solo negli anni Settanta intellettuali come Goffredo Fofi (qui intervistato insieme a tanti altri: da Nino D’Angelo a Maurizio de Giovanni, da Marisa Laurito a Valerio Caprara) si accorsero di lui: ma non per fare un esercizio di rivalutazione camp, dall’alto. Perché per capire Merola, le sue radici in una cultura e società, secolare, occorre entrare nel suo mondo. Questo fa il documentario biografico di Ferrari, dando comunque spazio anche a operazioni imprevedibili come Westmoreland Naples di Marcello Garofalo, in cui Merola affrontò il mondo di Jean Vigo, Fassbinder e Allen Ginsberg: come sempre, con una credibilità e un’umiltà straordinarie.
Forests and fields shrouded in darkness are illuminated by ghostly patches of mist that drift around the frame.
Free child, how did you become intimate, enter my cabin? How did silence seek you out? Set out to find this. Open and close the flaps of your tent.
Fragments of stories and memories judged by the main person involved. An accusation, then a defense, a trial without crime: a self-portrait by others.
The night brings us a thousand strange ideas, like dandelion seeds, to which we poor diurnals are not attuned… And yet, among the most beautiful flowers, don’t some open only by starlight? At one o’clock in the morning, two young screenwriters begin to cultivate the idea of a film, or rather ideas.
This film is not about a story, but an encounter. A woman enters a museum. She discovers its architecture, its unique maze.
故事讲述了顶上战争两年后的香波迪群岛上，娜美的小迷妹展开的一场小小冒险……本作改编自航海王官方外传小说《航海王 novel 草帽故事集》，小说描述了以一般人的角度来看待草帽海贼团成员们的短篇故事。
Suçuarana is the name of a mythical place, a lush landscape that appears in the weathered photo of her mother that Dora carries with her always. Dora has been on the road for a long time, hitching rides through Brazil’s mining region in search of her family’s homeland. But no one seems to know this place, seemingly lost to time. And the open road can be troubling for a woman traveling alone, as the generosity of strangers is suddenly eclipsed by danger. After an accident, Dora seeks refuge in an abandoned factory; there, a group of workers have formed a village and a community bond that feels akin to the home Dora searches for, if just for a moment.
Hamsters of Hamsterdale follows a motley crew of hamsters, the heroic protectors of their 8-year-old owner Harry, who they mistake as their King and beloved ruler of their elaborate colorful-tubed kingdom. Executive Producers: Colin Bohm, Doug Murphy, Zach Smith, Pam Westman
Synopsis Alessandro Preziosi directs and stars in a new stage version of King Lear, in which the characters of the Shakespearian masterpiece move within sets entirely composed of works by the great artist from Biella Michelangelo Pistoletto. In this way, the interpretative space becomes a sort of gigantic and evocative mental labyrinth that permits the actor-director to further highlight both the intimate suffering of Lear and one of the tragedy’s most important themes: the father-child relationship. COMMENTARY The documentary follows the rehearsals and staging of the play, and reflects not only on the creative process but also on the links, almost always insufficiently explored, between theatre and the visual arts. At the same time, it contemplates the meaning of memory, time and human frailty, and offers a very lucid look at the vulnerable nature of family relationships and the eternal conflict between generations. DIRECTOR'S STATEMENT Approximately 20 years ago, I was involved in a staging of King Lear directed by Antonio Calenda. It was a great opportunity for me to observe, from behind the scenes, the brilliance and clarity of both the actor Roberto Herlitzka and the play itself. From my vantage point, with an incredible and vast panorama before my eyes, I was struck by one particular aspect: the wait the characters experience in concluding their lives. The impatience that accompanies the wild sequence of events into which King Lear throws first himself and then those around him, gave me the idea of creating a mental space in the theatre and on stage, made reality by the stage design of Michelangelo Pistoletto.
Maria works as a home help for elderly people. Her dream is to see her grandson become a great pianist. To pay for the piano, she steals, here and there, small sums of money from the people she takes care of with devotion. Until the day charges are pressed against her for abuse of vulnerable adults...
Passionate about sailing, Jean-Paul passes a difficult pass. He accumulates debts and moves away from his own. Determined to take his life into his own hands, he enrolled in Virtual Regatta the virtual race of the Vendée Globe. He puts himself in the conditions of a real skipper by insulating himself for 3 months on his boat in his garden - This trip like no other, will allow him to reconnect with his family but above all with himself.
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