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OCEANI – Storia di un ragazzo non verbale, ma pensante

"Oceani" is a documentary that tells the story of Manuel Sirianni, a young boy with autism who, thanks to assisted communication, is able to express himself and share his view of the world. Directed by Valentina Pellegrino and Barbara Rosano, the film follows his journey of growth and daily challenges, showing how this particular form of communication—which requires the assistance of a facilitator—allows Manuel to overcome language barriers and connect with others.

OCEANI – Storia di un ragazzo non verbale, ma pensante

NR 2026
Angelo in France

Angelo in France. The father leaves bitter the Carabinieri and emigrates to France when, in Trieste, he is ordered to suppress dissent even firing on the crowd. It's the year 1920, is preparing the fascist dictatorship. Angelo Zois, his son, now old, traces the arc of his life. He lives with his wife Camille in Lalley, arrondissement of Grenoble. Alone. With the immense pain of the loss of both sons, he died of a heart attack at thirty, she committed suicide at forty after devoting with a smile all his energies to the poor, the last of the world, in Africa and India.

Angelo in France

NR 2011
Marengù

Marengù is a portrait-film which stars an extraordinary entrepreneur as its main character. Tino Sana, left an orphan when he was still a child (his father emigrated to Germany and died on the job, his mother a worker in Switzerland) grew up at the school of the great educator don Bepo Vavassori. Fallen in love with wood, which he learnt to work in the Orphanage of don Bepo, he still defines himself marengù (carpenter) even if his business counts 130 workers and he furnishes the most prestigious hotels in Europe and the most luxurious transatlantic liners of the world.

Marengù

NR 2001
How (Not) to Film a Fascist Monument

In this bold and personal short, filmmaker Lorenz Zenleser reflects on his complicated relationship with the Victory Monument in Bolzano, an imposing fascist structure built in 1928 to mark Italy’s victory over Austria, which is still politically charged and actively appropriated by the far-right. As he sets out to film the monument’s troubled legacy, the camera itself seems to resist: double 8 mm footage begins to glitch and tremble. This formal revolt provides the opportunity to transform a personal inquiry into a haunting meditation on the endurance of fascist symbols in public space, and the difficulty of capturing them without reinforcing their presence.

How (Not) to Film a Fascist Monument

NR 2025