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A one-of-a-kind cinematographic experiment. A grotesque fairy tale, staged in the real lives of the characters. A completely self-produced movie, designed and directed by two visual artists, with the purpose of telling the tale of Artaserse, a retired worker, boxer, trainer and life-long painter. Everything is staged in an industrial, now decadent Terni; like a steel bay without the sea, here it's difficult to dream about becoming an artist. This movie is like a suburban western movie; the boxer and the painting dancing the communal square dance together, in life and death, the meeting-match between Artaserse and an allegorical and remorseless art world, and more generically, the battle of all the colorful characters, appearing throughout.

Ennio Zani, a former rider and mechanic, remembers in his workshop the story of the first motorcycle racing team ever in the Republic of San Marino, a little independent country located in the Italian peninsula. The story of his childhood, when he gets in touch with bikes and starts to work as a mechanic, is the previous part of a story that involves other riders and motorcycle lovers from the late 50s, like his brother Italo, Glauco Sansovini, Piergiovanni Volpinari, Glulio Manzaroli and Alfio Beccari. Through interviews, vintage photos and old videos, a lot of crazy anecdotes describe the spirit and the passion of the racing team. The protagonists explain how the first motorcycles were built (using old scrap parts), how they organized the first road races, how they built the first motocross track in San Marino, how they fought against rivals all around Italy, supported by their love for this sport but with no money at all.

Rossellini explores the frescoes in the Sistine Chapel during a concert by the chorus of the Cappella Musicale Pontificia conducted by Monsignor Domenico Bartolucci.

Directed by Dacia Maraini in 1976, this documentary serves as a sharp and necessary social critique of its time. The film offers a deep dive into the exploitation of Cape Verdean women who immigrated to Italy, highlighting how they were funneled into domestic labor for wealthy families as a source of cheap work. Featured in the curated section "The Woman’s Gaze," the work stands as a powerful example of feminist filmmaking that tackles complex socio-political issues. Through Maraini's lens, the film moves beyond simple observation to denounce the economic and systemic struggles faced by immigrant women in 1970s Italy, capturing a poignant moment of intersectional struggle.

Francesca, a freelance gym teacher, lives alone with her three sons in Sardinia. She's a woman, a mother, a worker who struggles every day to survive. And she's my aunt. The economical crisis goes on, and her efforts now don't seem to be enough to maintain the life status that she desires for her and her children. That's how she decides to take a chance and enter in a TV quiz show... How her dreams to change her life situation manage to coexist with her everyday struggles?

Documentary about the movie theaters of Milan.

An intimate, ironic, and freewheeling portrait of Patrizia Cavalli.

August 10, 1980. The day that changes the history of Rome. The day that Paulo Roberto Falcão disembarks in Rome. The Italian cups, the title, the championship final. It all starts with him, who changes the mentality of the club, who starts to think big. This is the story of the eighth King of Rome, a trip from Italy to Brazil that explains “Who was Falcão”.

An Eritrean woman working in Palermo (Sicily) as a cultural mediator also brings her idea of self-determination to her relationship with her foster son, which proves particularly difficult.

For about two years, a video trap remained hidden in the woods with the aim of filming (by day) the most shy predator of the Apennines of the Four Provinces. In in dialect they call him "Sarvaego Cat".

A six hour journey through the night.

As happens to Simone, who was already the protagonist 11 years ago – he was portrayed back then with the other men of the Ciliberti family in the previous film *L'albero di trasmissione* – forced to close his workshop and with it his creations made from scrap, emblems of an unproductive inventiveness, of a fragile but realized utopia. It seems, however, that living on the margins of the present, in a precariousness that is a choice and not a misfortune, is a freedom that is no longer permitted. This new work by Fabrizio Bellomo is a biographical film (about a man, a nonconformist, and his neighborhood), which is at the same time a sequel and itself a film within a film, but also and above all a reflection on the role of cinema towards its subjects and on the humanist mandate of documentary.

This is not only the story of the famous rivalry between Borromini and Bernini, but of Borromini’s rivalry with himself, a genius so tied to his art as to transform it into a demon that devours him from inside.

Through interviews, archive footage and quotes from books and films by Pasolini, Laura Betti, friend, actress and collaborator of Pasolini, improvises as a director, making a feature film dreaming of Pier Paolo's words immersed in everything that has not involved him for a long time

The protagonists of Ciro Scuotto's latest film are representatives of a large community, who together demand adequate legislation, the right to express their sexual orientation, and the desire for a private life in the open. "Napoli in Trans" focuses on the city that hosts a large transgender community, which wants to feel free of its personal and sexual identity. The work, co-produced by Spaccanapoli Online and Dropper Lab, with executive production by the VisionArea collective, stands out for its great ambition: it is provocative, but in a sincere and delicate way, chosen by the young Neapolitan director to approach a topic that is painfully subject to discrimination and ridicule from the public.

Made by Andrea Fomasi, in Lierna (LC).

Film tells the story of Lidia Maksymowicz, a two-year-old girl, who in 1942 was imprisoned in the Auschwitz-Birkenau death camp, where Dr. Mengele carried out his insane experiments on Jewish children. Her mother, forced to participate in a death march, swore to the child that one day she would return for her. Lidia, like all Auschwitz prisoners, was freed in January 1945 by Soviet soldiers and was given up for adoption to a Polish family. She lived out her youth thinking that her mother had died on a death march. But one day, in 1962, someone knocked at her door.

Pietro Coccia (1962-2018) was one of the most talented photojournalists of Italian cinema, with a career that lasted over thirty years. Pietro il Grande is a tribute to the professional photographer and friend of all the leading figures in our cinema over the course of more than three decades: a career reconstructed in about four hundred images accompanied by eight great scores to re-create the special magic of photos of the world of cinema.

Sainey will go blind in a few years due to a degenerative disease. He is determined to learn as many things as possible to prepare himself to live in the dark.

Depicts the sights to see in Massafra, Italy.

Enza, in her early twenties, is a singer and seeker studying the rhythms of life in Salento. She breathes music, collects old folksongs and thus connects the people, the present and the past. Rooted in Tarantism and in the tradition of the healers she uses singing as a means to fight alienation. Her portrait is a cinematic legacy vibrating with intensity. It reveals the thin line walked by those who refuse to be satisfied with relative freedom.

Detoxify oneself from accumulate images, being able to see again as after an electroshock. ἐκπύρωσις, ekpýrosis, “out of the fire”, in Greek philosophy is the universal conflagration or “great fire and end of the world”.

"The Love Hour" is a film about confines, the complex barriers that make love relationships impossible. To explore this we've chosen a place where barriers are visible and insurmountable, a place where love becomes impossible: in jail. The separation, loneliness and institutionalization of prison life intensifies the waiting, the fears, the hopes, insecurity and neediness, emotional blackmail and dependency. A long tunnel of barriers progressively narrows and eventually blocks out the horizon for a love relationship.

A family’s old film found in a drawer. A big country house of childhood, abandoned. An archive of photos, one hundred years old or even older. A walk in a small town cemetery. Fleeting visions from an (unfinished) film about time.

Portrays the life of 85-year-old Italian male-to-female transexual Lucy who lived through the most dramatic moments of recent history, from fascism to deportation to Dachau concentration camp, from the Italian economic post-war “miracle” to sexual liberation.

Luciano Emmer reconstructs the dawn of Italian TV advertising, in two parts: "Gli anni ruggenti" (The Roaring Years) and "Ma chi l'ha ucciso?" (Who Killed Him?).

Italian documentary on mountain climbing.

Documentary

A friendship in four chapters.

Between the early 1990s and late 2000s, in what can be considered the golden age of Italian disco, a number of people chose to document a swirling, sleepless nightlife. What emerged is a collection of low-definition videos in which flashing lights, pulsating music and dancing bodies merge to become a mass in constant agitation. Viva la notte starts from this material to explore and expand the sense of loss that characterizes it, taking it to a level of abstraction and opacity where the image dissolves similarly to the world that generated it. Forms are lost in the dark and what remains are the evanescent traces of another place, populated by fleeting ghosts in search of perpetual instability.

The femina accabadora was a woman who practiced an ancient form of euthanasia, a compassionate act towards the dying person, in order to alleviate her pains. Considered by many to be a legendary figure of the Sardinian tradition, in reality he acted until the 1960s, as our protagonists, eyewitnesses of the deeds of the ladies of the good death, tell. Together with them we cross the sunny landscapes of Sardinia and immerse ourselves in the shaded areas of a millenary culture still alive in the present.

A journey to three remote observatories in three different continents (Chile, Canary Islands, South Africa) in search for our place in the cosmos. In nearby villages, astonishing humans share the same vulnerability and longing for life.

Patricia lives in Kalongo, a small remote village in Acholi land, Northern Uganda. In the shadow of Mount Oret, which dominates the landscape of the village, Patricia is learning each day to accompany new mothers through the physical pain and the immense emotion of giving birth. 'Together with woman' is the meaning of her chosen vocation to love and serve with joy, this is what it means to be a midwife.

A filmed diary that the director, Silvia Staderoli, addresses to her 16-year-old daughter and to all teenage girls around the world. In the context of France in the era of “Me too,” her daughter's hopes for a better future collide with the reality of daily, systemic gender violence. The “land of women” of the title does not exist, but alongside the bitter realization of a male-oriented society, the tension and collective effort for radical change emerges. Between cinema, confession, and literature, the film is a chronicle of life moments and encounters with women committed to fighting gender violence.

Apophenia is a horror film, a video essay and a travel documentary in which an urban legend becomes the starting point of a Lovecraftian tale in search of a disturbing unknown. The images emerge from the web intertwining and overlapping, showing themselves as symptoms of a collective schizophrenia to which the user slowly succumbs.