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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.
Emi es una alegre niña de ocho años que es muy unida a sus abuelos, en especial a su abuela con quien suele crear bellas pinturas. Un día mientras pintaban un nuevo cuadro se dan cuenta que es la hora de Emi para ir a la escuela, por lo que lo dejan inconcluso a la espera de terminarse. Al regresar a su hogar, Emi se encontrará por priMera vez con un suceso que cambiará la forma de ver la vida.
A non-binary person sees on the news the delivery of the first non-binary card in history in Chile. When trying to complete the procedure, they will face bureaucracy and its requirements.
In Season 2 of ITN Productions‘ series, the British journalist and author will head to the AMericas to search for evidence supporting his hypothesis that an advanced civilization was lost to history in the series of cataclysms that brought the last Ice Age to an apocalyptic end between 12,800 and 11,600 years ago. Each episode investigates new discoveries being made in the AMerican hemisphere, which until recently has been largely under-explored by archaeologists interested in humanity’s origins. Episodes take place in the likes of New Mexico, Peru and Brazil.
Struggling between college and a job in a luxury hotel, Fernanda wonders if she will ever achieve something meaningful in her life. The arrival of The Man of Shit will give her an unexpected opportunity.
以『康士坦的變化球《眠月線》巡迴演唱會』為文本，延伸全新的MR光影沈浸式音樂劇場。從演唱會裡的四個章節，啟程、召喚、遺忘、選擇。與三首歌曲〈人格補完計畫〉、〈眠月線〉，經典曲〈美好的事可不可以發生在我身上〉開啟『眠月線』宇宙。 故事裡早逝的女主角先到眠月線的時空等待尚在人世的男主角，直到她從海上的眠月線符號鏡面看見自己，女主角歷經滄海桑田終於等到垂垂老矣的男主角，而其中的時間感對人、宇宙有不同的度量衡。也希望透過大家的體驗，讓眠月線這條人生列車承載更多愛和感性。
Au cours de l'été 1942, les Juifs d'Anvers ont été arrêtés en masse et déportés. Quatre-vingts ans plus tard, un groupe d'élèves de sixième année d'une école rencontre des parents de familles juives qui ont été déportées à l'époque.
On an oddly quiet sumMer night in Seoul, a lonely night food delivery worker meets a friend she lost contact with for a long time.
There are four characters: Jeong-ho, Su-jin, In-ju, and Yu-jeong. They are all involved in the arts. Jeong-ho and Su-jin are lovers, but Su-jin is seeing another man without Jeong-ho’s knowledge. In-ju has a crush on Jeong-ho and wants to confess it to him. Yu-jeong also has her own story. The film calmly develops each of their stories until the middle. After the midpoint, it seeks a significant structural change. In this film, time no longer flows in order. Merely Known as Something Else is the second feature by director Jo Heeyoung, who debuted with The Continuing Land (2022). The film features characters crossing paths in the same space without knowing each other, time from today and yesterday intervening in each other’s dimensions, which makes the distinction between fact and truth ambiguous. The solid cinematography is excellent, and the virtue of the film lies in its attempt at a complex, multi-dimensional structure, which enhances the emotional resonance rather than the narrative.
Young-tae and Mi-joo are happy to move into a small but cozy monthly rental house. However, Young-tae’s business partner suddenly breaks the agreement to run a restaurant together. Young-Tae leaves home to earn money, leaving Mi-joo alone. Mi-joo lives diligently while waiting for Young-tae. This is the new work by director Park Songyeol, who gained attention as an outstanding newcoMer at the Busan International Film Festival and the Berlin Film Festival with Hot in Day, Cold at Night (2021). It is fascinating to see how such a simple story can convey such complex emotions. It is lonely and scary, painful and sad, eerie and creepy, and funny and tear-jerking. The dreams and realities are more recklessly chaotic than in previous works, and the shining determination for life has become impressively strong. The unexpected and absurd final scene is also a highlight. It is a blessing to see such an unusual film as this.
A story of two sailors dealing with an ominous Merman.
A hot sumMer day. Jeonga is selling a used stroller at a low price, which a poor young mom Jieun needs badly. Jeonga was going to sell it to Jieun, but on the way to meet her, she gives it away to an old woman who is picking scrap paper for living. Jieun goes after the old woman and gets a new offer from her. Sometimes, someone’s good intention becomes a misfortune to someone else - Jieun is now making a decision.
AMerican Chick is inspired by the life story of a woman, called Ema Černá in the film, whom the director met during his period of homelessness and who tries to carry on living her life against all odds. Černá goes through an orphanage, foster care and a detention centre. She endures the ordeals – including bullying and beatings – driven by the desire to meet her father, who supposedly lives in the USA (she was born there and was brought to Czechoslovakia at the age of nine by her mother, who then abandoned her). The director calls AMerican Chick “a probe into the history of the Czechoslovakia of the 1980s and 1990s” and “a contemporary drama about freedom, ostracism and the desire to live”. The theatrical version centres on childhood, while the film will follow the protagonist through different moments in her life, into the present day. However, the stigma that the protagonist bears continues to have an influence on her life. The dream of finding her father in the USA is vanishing, and she has to learn to come to terms with her own faults and accept her fate.
한 세기의 온도상승을 십 오분 영상에 담아낸, 인간이 살 수 있는 가장 북쪽 마을 롱이어뷔엔 주행일지. “그야말로 여름이었다-” 영상이 음악과 함께 이미 급격하게 달라진 북극 마을의 풍경을 재생시키는 동안, 화면 속 기온도 점차 상승한다. 자동차가 막다른 길 앞에 멈춰 섰을 때, 이 마을의 기온은 “11.6℃”에 이르는데.. 끝을 모르고 올라가는 추상적인 숫자에는 착취의 대상이었던 자연에 대한 인간의 역사가 은밀하게 감춰져 있다.
High school graduate Simon keeps an eye on lifeguard Mira. The outdoor pool in Niederwülst at the end of the 90s becomes a place of longing for the 19-year-old, far away from the pressure of family expectations. Forever Freibad, directed by Laura Fischer from a screenplay by Will Evans and Christof Ritter, is an unconventional love story produced by Ursula Pfriem and Moritz von der Groeben (good friends Filmproduktion) for ZDF.
风纪大会中，徐主任新增“操场上不可奔跑”的规则，并要求风纪缴交三张摘名纸。上学期最后一天，陈靖想摘下一名违规同学的名字，但因同学乘机逃跑而未能完成任务。晚上，陈靖陪嫲嫲摆地摊，却被食环检控非法摆卖和阻街，这令陈靖对“规矩”的想法有所动摇。回到学校，陈靖发现那名逃逸同学的资料，但没有摘下他的名字。无法完成风纪任务的她，被惩罚暂时停职。会后，陈靖来到操场，与同学玩“兵捉贼”，享受在操场上奔跑的快乐。
Isabel’s life turns on its head the day her daughter Madalen asks her to make regular visits to the ailing Ramón. Fifteen years after leaving her ex-husband, a man she sees as a stranger despite having been married to him for years, Isabel experiences renewed feelings of the resentment she thought she had left behind. But accompanying Ramón at his most vulnerable will make her see what happened to them with fresh eyes and allow her to concentrate on her own life as it stands today.
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