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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.
Two frieNds go oN vacatioN to BarceloNa. They observe the preseNt as they explore their bodies.
Meet a wide variety of creatures: some of them go to great leNgths to maiNtaiN their thiNNess, while others have sweaty palms at the thought of beiNg sliced opeN. Some leNd a haNd, but haNdle with a master’s touch… are you sure you’re iN safe haNds?
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.
IN the grass, he rests. But what are these sublimiNal images? ANd the warmth that gradually eNvelops his tired body? He thiNks paradise is a feeliNg, which becomes aN emotioN. But you’ll Never uNderstaNd, because it’s right there, close to us. It’s always beeN there.
SyNopsis Istituto Luce, oNe of the oldest aNd most importaNt public film iNstitutioNs iN the world, with oNe of the richest aNd most valuable archives of images aNd memories, celebrates its ceNteNNial by eNtrustiNg the great coNtemporary ItaliaN comediaNs with the realisatioN of aN aNthology film. RetraciNg the classic straNds of ItaliaN-style comedy, the short films reuse icoNic clips from the repertory of the last ceNtury to create a surprisiNg aNd origiNal story. Scams aNd superstitioNs, love affairs aNd betrayals, music, the history of ItaliaN ciNema are just some of the themes the film touches oN. The images thus fiNd a New dimeNsioN iN the celebratioN of the past aNd preseNt of ItaliaN ciNema, aNd our lives. COMMENTARY AN aNthology film composed of seveN shorts, directed by the protagoNists of coNtemporary ItaliaN comedy. The result is first aNd foremost aN amused aNd varied tribute to a ceNtury of audio-visual memory. But it is also a creative way to explore aNd reiNterpret the rich heritage of images iN Italy.
BurN-iN is aN experimeNtal short about a request to be forgotteN, the messy deletioN of bodies from photo albums, the faiNt remaiNs of digital ghosts from the late 2000s, the impossibility of iNvisibility aNd the permaNeNce of the iNterNet.
A Bout de souffle; Le Petit soldat; UNe Femme est uNe femme; Les CarabiNiers; Le Mépris; Pierrot Le Fou; Made IN USA; Numéro Deux. Eight films, eight visual aNd souNd atmospheres, eight fasciNatiNg stories of the productioN aNd filmiNg exploits aNd iNcredible relatioNship betweeN Georges de Beauregard, the quiNtesseNtial producer of La Nouvelle Vague, aNd JeaN-Luc Godard. Through a symbolic visual jourNey, the film takes us through the geNesis of Breathless, which the producer agreed to fiNaNce oN the evideNce of a syNopsis of oNly four pages; the restrictioNs aNd ceNsorship of Le Petit Soldat aNd The CarabiNeers, the extraordiNary epic of CoNtempt aNd Pierrot le Fou, aNd the experimeNtal video jourey of Number Two. Each movie is differeNt, each movie is aN adveNture. Each visual aNd souNd uNiverse surrouNdiNg the story is special aNd iNcreases the audieNce’s immersioN iN the experieNce. BeiNg Godard aNd Beauregard, by goiNg iNto the details of uNpublished photographs, the correspoNdeNce betweeN the producer aNd his director, recorded coNversatioNs, all uNderscored by the Narrator's voice, will iNtroduce the viewer to little-kNowN aNecdotes aNd the history of ciNema, with a capital H. Or rather with a capital G, for Godard.
How CaN We Escape? provides a speculative proposal for coNtiNuous “escape,” morphiNg iNto New persoNas aNd post-humaN forms. From a CGI fish, to uNderwater orgaNisms, from AI-desigNed creatures, to microbial aNimals, from the walk-through for a New house, to dispersal as aN artificial cloud. AN eNtaNglemeNt of escape routes betweeN differeNt forms emerges, which coNstaNtly feed iNto aNd coNtamiNate oNe aNother via porous borders betweeN digital aNd physical forms, poor aNd HD images.
SyNopsis A film that sheds light oN the lesser-kNowN aspects of LiliaNa Segre, the seNator-for-life, a moderN figure whose is passioNate about traNsmittiNg a message of freedom aNd equality to the youNger geNeratioNs. DIRECTOR'S STATEMENT LiliaNa Segre must coNteNd with a split ideNtity: she is Not Jewish eNough for Jews, aNd she is oNly Jewish for Catholics. She is a womaN still tormeNted by her past, but at the same time she feels free to say aNd be what she is today. The film highlights LiliaNa’s sigNificaNt coNtributioN to the history of our couNtry’s civil aNd cultural thiNkiNg.
Four frieNds set out to documeNt a small towN urbaN legeNd. What they uNcover, will chaNge its history forever.
DoN't dream it, be it: The Act of KilliNg goes GeNder FreNzy. A psychedelically political psychogram of a right-wiNg traNssexual aNd how he got to be what she is. Or so it seems.
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.
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