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- A young director crosses the ocean to find Emitt Rhodes, the mysterious forgotten American pop star from the 1960s/70s, once dubbed as the secret alter ego of Paul McCartney. But these theories are refuted by Emitt himself, flushed out and placed in front of a video camera after many years spent holed up in his house full of old guitars and vintage amplifiers. His words reveal a past filled with regrets. His voice and his music proving his pure talent.
- 'Human Comedy in Tokyo', describes ordinary everyday lives without any significant incidents. Various dialogues are elaborately woven to bring tiny splits in human relationships to light, and through the three episodes the characters have their moments of realizing that they are actually in solitude.
- Roberto Orazi turns the camera on the lives of some of those involved in the scourge of the global traffic in human organs: lives united by a momentary hope and separated by that abstract yet insurmountable border called the North-South divide.
- Immediately after the earthquake in L'Aquila, hundreds of video cameras were turned on the city, but the ones used for this film are the 'eyes' of those native to the stricken city. A film crew that knows L'Aquila's social fabric shows the 'off-camera' action in the wake of the catastrophe.
- Three foreign teenagers, or more accurately second-generation Italians, throw caution to the wind and express their aspirations, affection, humor and rage in front of the video camera. The waiting, the resentment, the dreams, the irony and the isolation used as a defensive mechanism.
- Starting in the 50s, miles and miles of film reels testify to Franco Cristaldi's passion and commitment to producing the best Italian and European cinema over the course of his career. Repeatedly honored with the most prestigious international awards at Cannes, Venice, and Hollywood, Cristaldi had a saying: "Every film must be a prototype."
- Green, White, Red: three colors for three chapters, each touching a strand of contemporary Italian life. In the first on the environment, Elisa Fuksas recounts the scourge of uncontrolled building that continues to ruin the countryside without any qualms for aesthetics. In the second chapter on young people, Francesca Muci debunks many commonly held views and caricatures usually used to describe an entire generation. In the final part, Lucrezia Le Moli paints a lucid, sincere, impartial and revelatory picture of the Italians' perception of politics. Three small yet great investigations pervaded with a disconcerting wisdom and a mature, competent sense of the cinema of the real.
- Flavio Bucci, who played the artist in the Rai TV movie in 1977, guides viewers through the life and career of painter Antonio Ligabue and the places dear to him. The film combines footage seen here for the first time, scenes from the 1977 TV movie, and interviews with key figures in the art world, psychology experts, and the painter's acquaintances, in an attempt to reconstruct the enigmatic artist's troubled existence and his controversial output.
- Maria Lai, who studied in Venice under Arturo Martini, one of the greatest European sculptors of the 20th century. Accompanied by the voice of the Sardinian artist, her paintings, carved landscapes, textile stage designs and drawings are revealed by a fluid, delicate and inventive use of video and music. This is an investigation into the life and evolution of a creativity never short on ideas, whose modernity is still spectacularly vibrant today.
- A film about a streetArt outlaw in Berlin.