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Good Vibes

Five stories that intertwine around a mysterious smartphone that allows you to have a copy of anyone's phone. Just enter the number and you immediately have access to bank accounts, photos, videos, emails, messages, even the most intimate ones, and if you activate the camera in spy mode you can observe the lives of others live. A morbidity that pervades anyone who comes into contact with this phone, in the frantic search for the power to influence the lives of others. Thus begins an escalation of linked events in which, without a moment's respite, we will follow the fate of the phone and of those who come into possession of it. The protagonists of the five episodes must confront their most hidden desires and the (in)ability to manage the power of knowledge.

Good Vibes

6.0 2023
Sante

Bianca is 12 years old when she is chosen to play the angel — a symbol of purity and grace — at her town fair. As she prepares for the moment when she will be lifted off the ground, her encounter with Ginevra fractures the surface of childhood and opens a crack from which a new and unsettling desire seeps in. In a suspended time and place, the film covers the imperceptible yet radical transition between imposed purity and awareness of one’s own body, between childhood and adulthood. A female coming-of-age tale that investigates — through its hagiographic and apocryphal aesthetic — the symbolic construct of grace and the inherited weight of guilt.

Sante

NR 2025
Sexxx

"One evening, without any particular expectations, I went to the Lavanderia a Vapore theatre in Collegno, headquarters of the Balletto Teatro di Torino, directed by Loredana Furno, and I saw Sexxx, the ballet by Matteo Levaggi. I’m not a fan of modern dance, but I think this is why my fascination that evening was sincere and convinced. Above all, I was struck by the way the choreographer was able to take the explicit gestures and movements of sexual communication and transform them into the language of dance. And since body language is one of the topics I have been interested in filming since that ‘scandalous’ Guardami, I was already sufficiently motivated to transform the ballet into a movie." - Davide Ferrario

Sexxx

10.0 2015
A Five Star Life

Single and middle-aged, beautiful Irene is wholly devoted to her job as an inspector of luxury hotels. Constantly on the road, she indulges in expensive pleasures at impeccable resorts, but always incognito and alone, soon escaping to the next exotic destination with her checklist and laptop in tow. When her best friend and ex, Andrea, who has always been a source of emotional support, suddenly becomes unavailable, Irene is thrown into a deep existential crisis. "Luxury is a form of deceit," she is told by a fellow traveller in the fog of a steam room, and thus begins Irene's quest to bring more meaning into her life.

A Five Star Life

5.7 2013
Rossini: L'italiana in Algeri

In 1810, Mustafà, Bey of Algiers and thoroughly fed up with his wife, the docile Elvira, orders the captain of the corsairs to find him one of those feisty Italian women. It turns out to be Isabella, an Italian woman of unparalleled beauty searching for her fiancé Lindoro, whom Mustafà happens to be holding captive in his seraglio. The Bey intends to give Lindoro to his wife Elvira, hoping to get rid of him once and for all. Isabella, accompanied by her annoying suitor Taddeo—whom she passes off as her uncle to save him from the gallows—relies on her powers of seduction. “L’italiana in Algeri” (The Italian Girl in Algiers) is a two-act dramma giocoso (opera buffa) by Gioachino Rossini, with a libretto by Angelo Anelli. It premiered at the Teatro San Benedetto in Venice on May 22, 1813. Recorded in the studios of Radiotelevisione Italiana (RAI) in Milan on July 10, 1957.

Rossini: L'italiana in Algeri

NR 1957
We Want Roses Too

The film looks again at recent events from a female point of view, through the first-hand accounts provided by the diaries of three women. Rather than focusing on the alleged objectivity of facts, the film gives space to a chorus of voices that narrate those events in first person, visually supported by archival footage of the period, drawn from the most varied sources - institutional, public, militant and private. Anita, Teresa and Valentina come from different Italian regions and different social backgrounds, but share the same feelings: they no longer feel as part of a society based on the patriarchal family, on the power of "husbands" and on the supremacy of males, which requires them to be efficient mothers, obedient wives and virtuous daughters.

We Want Roses Too

6.5 2008