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The story of one of the most important women in science in the world How did Fabiola Gianotti become one of the most important women in science in the world? Through the life example of the director of CERN in Geneva — the world's largest particle physics laboratory — the documentary shows how curiosity can change the world. Fabiola Gianotti recalls the stages from childhood to adulthood, the interests and doubts that led her to CERN.
“Canapa Nostra” is a shout of the people that wants truth and justice, it is the troubled and passionate story about a forbidden plant that has accompanied humanity in his entire evolutionary history.
In a crescendo of visual hints and sonic traces, Objet d’énigme plays with thriller tropes to depict homes as a dense space in which the memory of murder can be surmised in every frame. Using lo-fi scans of domestic spaces, Objet d’enigme lies bare a pattern in which the female body is the ever-returning protagonist.
"A group of jazz musicians come to a recording studio to play a jam session together. Their improvisation is matched to the rhythm of a tape of freely available footage from security cameras around the world. People and animals, city and nature, joys and tragedies. In conjunction with music, the videos are stripped of their original surveillance function and become vague, abstract, liberated images." -Ji.hlava IDFF 2021
The Last Kilometer is a film totally dedicated to a passion, an emotion, a sport: Cycling. The movie follows the story and an entire cycling season of “the old” Davide Rebellin, 41 years old and still fighting in the peloton after many victories and scandals, and “the young” Ignazio Moser, promising 20 years old son of cycling champion Francesco Moser. The famous italian journalist Gianni Mura, Tour de France correspondent since 1967, helps us to discover what cycling was and what it has become today, after doping scandals, passion, epic, richness and decadence. Finally, a bit of madness and insane joy is brought into the movie by Didi Senft, better known as “El Diablo”, a living and metaphorical symbol of all cycling fans, with their passion and their enthusiasm. The Last Kilometer is a portrait of cycling.
Documentary produced by Nexus and filmed in various locations in the Gargano area, focusing on the Jewish community founded by Donato Manduzio in San Nicandro Garganico.
The documentary focuses on the impressive event of the Italian youth world organized at Parco Lambro in Milan in 1976. The gathering, four days dedicated to counterculture and pop music, was attended by students, young people, workers, lumpenproletarians, feminists, gays and young people from extra-parliamentary groups. The memories and testimonies of those who organized, sang or simply participated will be a commentary on the splendid images of the time. For the first time, meaning is given to the exclusive and complete material shot by Alberto Grifi and six other operators at Parco Lambro in 1976.
Every day 500 high-tech fishing boats enter Senegalese waters and catch whatever they can find. Every day 15,000 Senegalese wooden pirogues go out to sea and search for what is left to feed 600,000 people. All this is done under agreements between the European Union and the countries West Africa.
A film about Alfonso, who was the protagonist of the third episode of Paisà (the street urchin who steals the American soldier's shoes). A reflection on neorealism, filmed with Michele Schiavino and Maria Paola Fadda, third special Sony video prize at the Locarno Film Festival.
The Futurist dream of architecture in motion here becomes reality: the Casa Girasole-its name describing its project-follows the light of the sun, for it is so constructed that it is capable of completely turning on its own axis. Fictional characters, joined by the old mechanical operator of the house and the daughter of the engineer, create a connection with this work of architecture and its history (Swiss Films).
A faithful reflection of life in San Potito
This documentary recalls the history of a famed Italian motor race that hosted legendary champions and major car manufacturers.
Let's discover the Seychelles through the Creole people and the fantastic nature that surrounds them. A journey to the edge of the world experienced through the lens of my camera.
In 2022, for the first time in the history of the Venice Biennale, Italy will be represented by a single artist: Gian Maria Tosatti. Since 2018 Tosatti has concentrated all his practice on a project entitled "My Heart is a Void, the Void is a Mirror", an episodic visual novel, developed around the world with the aim of witnessing the state of crisis of democracy in the West. The Odessa Episode - which follows the stages of Catania, Riga and Cape Town - is the installation developed by the artist after a long period spent in Ukraine, in the most dramatic moment of the Covid-19 emergency, when the country was closed to foreigners. The film recounts the efforts made to carry out a powerfully visionary work in those difficult months.
An hour with Roberto Rossellini. Interviewed by Gregoretti, the director of Paisà and Europa 51 retraces his life, his work, his relationship with the young critics of the Cahiers du Cinéma who would become the authors of the French New Wave, but also talks about his participation in the May '68 events in Paris. Passing from one theme to another emerges the thought of one of the key figures of the last century and not only in the cinematographic field, a lucid and passionate vision, typical of Rossellini, which combines science, conscience and knowledge and an obstinate faith in the capacities of Man.
If Only I Were That Warrior is a feature documentary film focusing on the Italian occupation of Ethiopia in 1935. Following the recent construction of a monument dedicated to Fascist general Rodolfo Graziani, the film addresses the unpunished war crimes he and others committed in the name of Mussolini’s imperial ambitions. The stories of three characters, filmed in present day Ethiopia, Italy and the United States, take the audience on a journey through the living memories and the tangible remains of the Italian occupation of Ethiopia — a journey that crosses generations and continents to today, where this often overlooked legacy still ties the fates of two nations and their people.
A documentary about Italy's underground oil and metan deposits, sponsored by Italian state-owned oil company, ENI. Pictures of the state-of-the-art oil infrastructure are mixed with others of the traditional way of living of poorer Italian regions.
For a decade, environmental artist, Anne de Carbuccia has travelled the world, documenting drought, water shortage, plastic-filled oceans, endangered species and cultures through her camera. She states that she ‘wanted to maintain her artistic and sensitive stance as she photographed beautiful imagery, and create a film that is accessible as it attempts to encourage people to contemplate who they are and where they come from’. The filmmaker is inspired by dedicated ‘Earth Protectors’ she meets on the sites of climate disaster and sees a glimpse of hope for the environment.
An Italian documentary about Mexico and the UFO phenomenon.
Thousands of undocumented migrants are illegally employed and exploited in the Italian crops to grow Italy's food. One Day One Day follows their lives from the inside of Italy's biggest slum.
The story of a dream that turns into an adventure: a theater company made up of five actors with Down syndrome and one with autism wants to accomplish a "normal" feat: putting on a great show and bringing it to the most prestigious theaters in Italy.
Documentary on the Jews of San Nicandro, Italy; a community of Christians who converted to Judaism during Fascist Italy
Special TG3 by Giorgio Chiecchi of 8 May 1980.
The film recounts an experience, that of a director and his two actors at grips with a play: from the first meeting to the initial readings, the rehearsals done at home, the ones done on stage and finally the first performance. But an experience that took place in the peculiar situation in which the whole of Italian culture found itself in the days between the first and second wave of the pandemic, when it really seemed possible to restart and the feeling of euphoria was accompanied by the illusion that the worst was behind us. Once again we were suddenly checked in our desire for beauty, for life.
Mali - Algeria - Libya - Italy. Issa’s escape from West Africa to the European mainland lasted ten years. Everything was supposed to be better here. But when he arrived in Rome, the only thing waiting for the young man was a life of homelessness and unemployment – which meant no money to send home. Drissa and Sekou share a similar fate, waiting in Italian asylum centres for a residence permit. Then there’s Bubu, who, forced to move from job to job, is unable to settle down. And lastly comes Alassane, who lives without identity papers in a state of constant uncertainty in a refugee camp near Rome. They all have one thing in common: after a gruelling odyssey, none of them has found the Italy they were hoping for when they arrived. Disillusioned, they find themselves in a vacuum of waiting, reflecting on the time they live in and the time that lies ahead.
A ferry boat unloads a train on the coasts of Sicily; the steam engine starts moving, the railway winds through stark landscapes and picturesque coastlines. In the meantime we are shown the gathering of seafood, the coming and going of people at the port and the ruins of ancient Greek settlements: Selinunte, Girgenti. The dominant colours in the film are the blue of the sea, the yellow of the sun and a beautiful red toning to render the majesty of the ruins standing out against the sky. The video is a copy from the film print held by the National Cinema Museum.
Rossellini explores the frescoes in the Sistine Chapel during a concert by the chorus of the Cappella Musicale Pontificia conducted by Monsignor Domenico Bartolucci.
Italy, 1974: citizens are called upon to repeal or confirm the law on divorce.
An adventurer journeys across the Alps to explore how climate change has melted glaciers and impacted people’s lives in the past and present.
An ancient territorial axis along which a part of the city has been structured. By virtue of its rank, this road will continue to play an ordering role within the city, i.e. the role of a modern armour, becoming the testimony of large complexes and spaces that, since the mid-19th century, have articulated the expanding city and given shape to its new needs: a psychiatric hospital, a cemetery, factories, a shopping centre, an amusement park. These places reject the logic of urban homogeneity, imposing themselves as coherent, autonomous realities. Some authors call these (separate and differently regulated) places ‘heterotopies’. In these places, the spatial dissolution that characterizes contemporary cities is enormously amplified. Boundaries, which are in themselves uncertain, definitively fade, whereby any act of delimitation or attribution of relevance becomes utterly impossibl
For Filmmaker Film Festival (2023), Fulvio Baglivi and Cristina Piccino asked some filmmakers (R. Beckermann, J. Bressane, D’Anolfi/Parenti, T. De Bernardi, L. Di Costanzo, A. Fasulo, F. Ferraro, M. Frammartino, S. George, ghezzi/Gagliardo, C. Hintermann, G. Maderna, A. Momo, A. Rossetto, M. Santini, C. Simon, S. Savona) to give us their own "lost road," that is, a sequence, scene or piece of editing that did not later find its way into the final version of one of their works. Each fragment has its own accomplished presence, often has a different title from the film it was made for, which is not necessary to have seen in order to find meaning; on the contrary, those who set out thinking they know the world they are walking through will find themselves displaced.
Until she was 16, filmmaker Chiara Marotta lived in a Christian community where everything revolved around prayer and reflection. Life was bound by regularity and rules that kept contact with the outside world to a minimum. The rebellious Marotta couldn’t stand it, but when she left, her grandmother, mother, and sister stayed behind.
Life and Death of Oriana Fallaci: the greatest Italian journalist of all time who made men of power tremble with her interviews and her sharp writing.
Siticulosa’s multidisciplinary research considers the relationship between archaeology, geology and agriculture in the Puglian landscape. “Parched” or “very dry”, as in Horace’s description of the region (Siticulosa Apulia), continues to be an accurate description of the dominant conditions that allow for the appearance of crop marks to indicate the presence of archaeological sites beneath. The film is a study of a territory, and the marks and wounds that it bears of a history of pillage, but also a portrait of the people that inhabit it (farmers, antique dealers, amateur archaeologists, local historians) and their symbiotic relationship to the landscape.
An Anthropological Television Myth is a gloriously jagged collage of fragments culled from an independent Sicilian TV station's output in the mid-90s – the period just before the 'Berlusconi era'. But whereas the Milanese media mogul's spells as president were notable for the cynical degradation of his nation's television output, with its bawdy game-shows earning much overseas derision, the small broadcaster showcased here evidently foregrounded and documented local grass-roots political shenanigans. With no commentary or captions, the film plunges us into a lively day-before-yesterday epoch when the authorities' battles with the Mafia produced an atmosphere akin to Civil War on the streets. Virtuouso editing knits together a dizzyingly wide range of sights and sounds that consistently fascinate and impress.
