Discover Movies

The short film is based on an investigation by Dino Buzzati. It tells the story of Melinda, a mountain girl turned into a witch by her environment and circumstances. In September 1965, Buzzati travelled to Abruzzo (near Teramo, at the foot of the Gran Sasso) on behalf of the newspaper Corriere della Sera, seeking stories for his investigative series titled "I misteri d'Italia" (The Mysteries of Italy). There, he gathered the story of Melinda, a real-life woman (who died in 1962 at the age of 93) regarded by the local community as the last true Abruzzese witch. Buzzati described Melinda not as an evil being, but as a woman victimized by fate and superstition. While Buzzati was fascinated by the magical and mysterious aspects of her tale, Lù Leone reinterpreted the same story in 1976 through a political and feminist lens.

The misadventures of a young couple, Rodolfo and Patrizia, as they set off on a car journey to their coastal home during a summer vacation.

The famous painter of “La Vucciria” analyzes the work of another artist, in this case David and his Dead Marat, emphasizing how many artists love the works of others and often draw them to study their composition, geometry, and profound beauty. This, says Guttuso, is a severe, austere painting, devoid of any rhetoric.

The film, shot ‘inside and outside’ Milan’s central station, uses this particular architecture as a model for discovering that within the environment we inhabit and work in, there almost never exists a relationship between space and its use. It pinpoints the ‘detachment’ which means expressing one’s own critical attitude towards the kind of architecture that refuses to accept any ‘vital’ aspects but reduces itself to a ‘monumental structure’ that is not able to contain the dynamics of human relationships.

A film by Vittorio Cottafavi.

Preserved and digitized by the National Film and Business Archive

Albert is a neurotic photoreporter constantly hearing voices in his head reminding him some childhood thraumas; he has also nightmares about his Vietnam experience. Myra is a hippie girl: she seems happy and free, but her memory goes often to her mother who died in Auschwitz. With these premises a love story between them will surely become a drama...

A child has no memory of his dead father, but every day he spends hours on his grave.

A gravedigger digs up a beautiful woman, and she haunts his dreams, and that of his wife.

A bumbling government agent recruits a trucker whose gambling knowledge can help crack an illegal Florida operation.

Stories of Italian emigrants in Berlin declined without an ethic of sacrifice and goodism but through a sense of the ferocity necessary to wrest survival from the miserable life that capitalism has offered and continues to impose on us.

The happening Alla ricerca del silenzio perduto - Cage's Train has lingered in the memory of all the people who took part in it, and the echoes left behind by the American composer's “prepared train” have spread through time. This rare document, edited by Oderso Rubini and Massimo Simonini.

A busty girl gets naked in the shopping centers to attract attention and thus allow her accomplice to perform some small theft.

I have a fixed idea about the screen that while it has no depth, we know that it is sprayed by 24 frames a second at the same point for an infinite amount of time. Were it possible to freeze into a solid the sum of all the images, the screen would be seen as a limitless freezer of frames. Even more so, when the screen is a screen of a screen—a condition approaching the simultaneity of electronics. The usual battery of devices: Super-8, 16mm and slide projectors. A constructed series of film loops with scenes of [everyday] life, slowing down and accelerating the events on a solitary screen, so that life as it has been staged gathers itself up in a perpetual serial [process of] self-editing. On the tv screen a face is pierced through by the small filmic screen.

Some scenes in black and white show Venice, Piazza San Marco, people who walk, feed pigeons and paint. The film records the gestures of boys hugging each other, touching each other; then childhood and provocative scenes alternate. Venice is dying.

A television experiment, filmed with the first portable video recorders, in the Ligurian community of Carloforte, on the island of San Pietro: for two months, the small crew lived in close contact with the people and their daily lives. They created a collective portrait, featuring former ore carriers, seafarers, salt workers, fishermen, tuna fishermen, industrial workers in the Sulcis area, young men and women from the nautical and teaching sectors, and the women, "white widows," wives of sailors, entrusted with raising their children. Three years later, in light of the changes, that first portrait—comprising life, work, feelings, and hopes, past and present—was shown to the islanders in the streets, squares, workplaces, and schools. Reactions and comments were filmed and incorporated into the final edit, which showcases the process and working method. Video is used as a means of recognition, identity, participation, and horizontal dialogue, a pioneering "street television."

8mm short showing an aspiring actress and her audition in Mauro Mingardi's studio.

Roman township of San Basilio: Fabio, 7 years old, in Italian a "character", is assigned to a differential class. How the family reacts, what the neighbors say, what the teachers, the principal, the psychologist of the elementary school think: the doubt is that there is no re-education of a child at stake, but the green light for social homologation.

A still long shot of a place of death.

Giorgio Sandrini, a seventeen year old Sardinian guest of his Venetian aunts, and is employed as an apprentice in Murano. He becomes involved in a series of misadventures and ends up in a re-education centre for minors. But there he is educated only in violence ...

In each episode, one or more people find themselves trapped in a seemingly insoluble situation, which is instead resolved (as the series title states) at the last minute.

Italian musical adaptation of the french play "Cyrano de Bergerac" featuring Domenico Modugno

For a long time, psychoanalysis failed to make inroads into Italy. Idealism, Catholicism and fascism each regarded it as a pseudo-science, while Marxism saw it as a bourgeois ideology. It was only after 1968 that the situation gradually began to change: numerous groups were founded who took their bearings from Lacan, such as the Milan collective Semiotica e psicoanalisi, who organized an international conference on the subject of madness in 1976.

A close-up of the artist slowly cutting her own tongue with a razor blade, letting blood spill from her mouth.

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.

Super8 short by Annabella Miscuglio.

Short movie by Jean Otth.

Experimental arthouse film taking satirical, philosophical and abstract views on war, politics, art and interpersonal relationships.

“While you are alive, act like a dead man, and everything will be fine. Silence is the mother tongue.”

An anthology of short films directed by Massimo Bacigalupo around 1969 and 1970.

Short by Studio 970/2.

Strains of Wagner's Das Rheingold and African tribal ululations collide with bi-/tri-sected television footage while negative-positive visuals smash heedlessly into their mirror images, an unbounded series of “meaningful” artistic fender-benders that amount to little of resonant substance.

Dissolvimento shows two women in domestic interiors who perform two different actions, edited one after the other. In the first, the painter Gigliola Carretti is engaged in an action with a series of sexually explicit props, making the activity resemble the brushing of teeth; in the second, the director herself is seen from behind, seated on a toilet. The film ends with the almost abstract view of cascades of the fountains of Turin.

Milk in its symbolic and ancestral dimension is the fulcrum of this short film. Primary source of female nourishment, abundance and life, milk flows, is drunk, steeps and nourishes. The woman-mother is its dispenser, the one who safeguards its vital power. The color of milk, however, also recalls male seminal fluid and the dimension of the sensual exchange between man and woman.

The female question in all its aspects is highlighted through interviews with women in different situations and conditions. Older women who have been working for years in the general markets since the early morning and who then return home and continue to work as housewives, then the workers of a factory occupied, a housewife, a woman who tells of her experience with sex and a woman who tells of her clandestine abortion, a new mother who tells about her motherhood and then interviews with girls elementary school that already, despite them, undergo an education based on patriarchy values.

A film by Alfredo Leonardi.

Naked women dancing and performing to the music of Paganini.

It is inspired by an old Tuscan fable , between memory and fantasy , a “non-reality” is described that brings back the memory of the old fable to both children and adults.

Two years together by Le Nemesiache with the psychiatric patients of the former 'Frullone' hospital in Naples. This experience of music and dance had a profound impact on those who took part in it. This film is a testimony that indicates possible alternatives to the inhuman marginalization of the mental hospital institution. The director of the hospital Sergio Piro, operators and nurses from the 6th women's division and the Department for Youth Problems of Naples collaborated in the making of the film.

Four speeds in writing associated to four physical movements that become louder and louder. The word returns to gestures and the body to survive. The real time of screen-writing makes the time of poetic action coincide with the time of the reader, reflecting the biological rythm of life into the experience of language and writing.