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Why did cinema lag behind for so long in terms of morals? Why did this new art form, created to depict the modern world, find itself a prisoner of moralist and Puritan ideals? Over just fifty one minutes, this densely-packed documentary brings to light the traces of a different gaze, from the films of Thomas Alva Edison to contemporary cinema. From censorship to fragile tolerance, it tells the story of an uncertain war.
Synopsis Since 1584, in the heart of Rome, in the middle of the Tiber River, the Tiberina island is a place dedicated to the care of patients and pilgrims, where the Isola Tiberina – Gemelli Isola Hospital stands. Shrouded in myth, this small island has witnessed the transition from the mysterious Pagan rituals to the spirituality of the Christian world, from the Emperors to the Popes, from the Priest-Doctors of Antiquity, to the avantgarde specialists of today, without ever losing its vocation for hospitality and healing. COMMENTARY Directed by Alex Grazioli, the documentary reconstructs the thousand-year-old history of the island, with appearances by Giuseppe Fiorello, the art historian Filippo Cosmelli, the architect Ilaria Delsere and Father Raphael Barbato. PRODUCERS' STATEMENT To quote Margaret Mead: “Helping others in need is the exact point at which civilisation begins. We are at our best when we serve others”. Giuseppe and I are happy and honoured to have been a part of this project, involving friends, professionals and philanthropists for the Hospital.
一个身处异乡对生活失去希望的女孩马小安（谭阔阔饰），决定开摩托送一只迷路的来自西藏的信鸽回家。一个和父亲决裂的游子，在自己老了，开始健忘的时候，不远万里骑着摩托回家，跪倒在父亲的墓碑前。 在318的自由之路上，因摩托而交集的两代人一路历经坎坷、对抗与互助、矛盾与理解。他们渐渐走出了封闭的自我。在这片沉默的高原上，他们用自己的方式找到了生活的原点，开始全新的旅程。
7.0分 阿根廷,墨西哥/剧情片剧情
A successful transgender actress and her lawyer husband decide to adopt a child, defying the conservative community in Argentina. But their attempt for a domestic happiness is thwarted when they visit the actress's hometown.
A painter sees the silhouette of a man appear in the distance. Intrigued, she decides to follow him, but the man disappeared. Flirting with the absurd, the film explores our difficulties in seeing and representing in a world where reality seems increasingly elusive.
Synopsis Mi-Rae, a lively and curious little girl, is on vacation with her family in Rome. Upon reaching the St. Peter’s Basilica, the child remains in awe of the words spoken by a priest: “Ask and it will be given to you; seek and you will find; knock and the door will be opened to you”. These words will lead Mi-Rae to make a gesture filled with hope. COMMENTARY Filmed inside Saint Peter’s, the short film by the Manetti Bros. contains a message of hope and solidarity and was made for the first World Children’s Day. DIRECTOR'S STATEMENT Pope Francis has often repeated that children are an example to follow, a hope for the future, for this world in crisis that adults are incapable of managing. We have thus chosen to portray children not as victims that must be protected but for once, as heroes and examples to follow.
This short collage piece constructs a pseudo-narrative on the dangers of media seduction, addiction and withdrawal from reality. Mainstream science fiction film and TV is manipulated via analog video synthesis and assembled into a musical montage of sensory overload. Paranoid psychosis is not as rare as it once was.
On an Island, stands a Villa, called “Delle Ginestre.” It is the villa of the Reffi family, the refuge of old Antonio and his two children. Carla, the eldest, a writer, and Celestino, a former doctor with a passion for mathematics. Life on the island flows quietly, sheltered from everything, even emotions, until two thieves on the run land there: Guido, a gambler, and Beatrice, his accomplice and companion, beautiful and fatal. The arrival of the thieves sours the world of the Reffi family, who find themselves at each other’s throats and faced with a doubt: denounce the two guests or give them a chance at redemption?
MarkoPolo (2024) 电影
10.0分 The film does look set to be incredibly personal: when Elisa realises that the film she’s been working on for years is dead, it impacts everything in her life, including her faith. She wanted to talk about her conversion to Catholicism, but maybe she wasn’t enough of a believer? "In God or in the film?", we ask ourselves, but not even she can answer this question. When faced with failure, all she’s ever been able to do is lose herself. "Because you’re tedious and you don’t know how to look after other people", the Madonna tells her the first time they speak, desacralizing her crisis and inciting her to react. As a result, Elisa, her sister, her screenwriter and the failed film’s lead actor set off on a journey on board a ship, headed for a sanctuary which they know little to nothing about. Each of them has something to resolve, a knot to untie, much like all the other pilgrims on the boat.
To expropriate industrial filmic landscapes to reduce them to raw material, utopian abstraction, transfigured lands. The voices and rhythms of the Chilean agrarian revolution shake the earth, stirring up sediments, confronting mineral strata and digging through the geomorphological layers of the recent history of the Chilean territory.
Bastián vive un día cotidiano en una población de Santiago, donde día tras día lleva una rutina para ser un apoyo en su familia. Comienza la jornada trabajando junto a sus familiares al amanecer, comparte con sus amigos del barrio a mediodía y recibe a su hermano del colegio a la tarde para facilitarle la tarea a su madre. A la noche, como de costumbre, se junta con el mecánico de la esquina que le enseña a reparar autos. Con él, mantiene una conversación acerca del presente y el futuro.
At the improvised stops of a migrant camp, I film the paltry shelters of nationals from Mexico, Central America, Pakistan and China. Making campfires with a few scattered desert shrubs, caught between worry and despair, they are waiting to be picked up. Through the glimmering haze I can make out their blank gazes staring into the void, their faces burdened with fatigue, sweat and dust. The calming effect produced by the volunteers who distributed water, food and blankets a short time ago is fading fast. By dawn tomorrow, the camp will be gone, the desert deserted, the crossing already in the past. In the light of dusk it is still possible to glimpse places strewn with disparate objects and abandoned clothing, leftovers from barely touched meals and a campfire still burning. A chiaroscuro of shadows and embers. I think of such little consideration and the ruined American dream. On the icy sand I find a cushion bearing an inscription: “DREAM.”
「恭喜恭喜、也節哀順變啊！」家裡聚集一堆來來往往的親戚，讓八歲的小猴子感到煩躁。媽媽和剛出生的小嬰兒回來的這天，有親戚送來一隻「活雞」要給媽媽燉湯坐月子，小猴子想要幫媽媽分憂，於是拜託阿公，陪她偷偷去把這隻咕咕雞變成雞湯。然而，都市裡人海茫茫，出發卻沒有方向，一路上兩人一雞闖關又闖禍，咕咕雞是殺還是不殺？
What happens after years of making documentaries? For Christina Vandekerckhove, who made waves in 2017 with Rabot, a powerful documentary about the last residents of three social housing towers, the answer is that certain real-life encounters, situations, and people linger in your mind. "They became the spark for Milano," Vandekerckhove admitted in 2023. "The rest is imagination." In her fiction debut - though her award-winning short films Mia and Stella were early steps in this direction - the Ghent filmmaker focuses on Alain (played by Matteo Simoni), a single father raising his deaf son Milano (newcomer Basil Wheatley) in a social housing neighborhood. As Alain strives to create a better life for his 11-year-old son, their relationship is strained when Milano expresses a desire to meet his biological mother and finds support in a wealthy neighbor. Milano is an emotional and poetic exploration of parenthood and friendship, blending the rawness of reality with the sensitivity of fiction.
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