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Matilda is an unlucky girl: her boyfriends keep dying in strange accidents. The last of them, Torquato, a shy filing clerk, is a little afraid of this situation and doesn't know how to continue the relationship.
A testimony of the force of love that binds two people, a present-day betrothed couple. The narration proceeds as a thriller in which the two protagonists conceal a mystery: visible traces, scars on an arm, details that worm their way into the story until the enigma is revealed. He had previously been a she. A contemporary metamorphosis made possible by their love.
Vittoria Belcastro, a Calabrian oncologist, telis of her long battle against cancer, which she won. Her therapy is based on respect for life, but also for the disease. Two literary testimonies serve to counterpoint her touching words: "Pozzi d'amore (Wells of Love)", a theatrical monologue by Enzo Moscato, the portrait in which fragments the rhythm of the film, and "In alto a sinistra (Top left)", the transposition of a tale by Erri De Luca, in which the themes of pain, memory and absence emerge from the story of a father-son relationship.
Five Neapolitan directors depict life in the city under the shadow of Mount Vesuvius for this anthology film of comedy, drama, surrealism, and political commentary.
Portrait of love in our times through a mosaic of looks, faces, stories collected by numerous authors around Italy. The result is a multifaceted image, capable of representing the most elusive of feelings and making people reflect with lightness and irony.
Collective film for the 60th anniversary of the Universal Declaration of Human Rights, with 30 directors each helming a segment about one of the 30 articles of the Declaration.
Set in the 1790s, this historical drama follows the travails of an idealistic noblewoman who helps lead a daring revolution in Italy.
The Eye of the Hen is a story of violence and isolation without precedent in the Italian film industry. After twenty years as a filmmaker, with her best film released to critical acclaim and by some deemed a masterpiece that would cement her reputation with mainstream audiences as well, Antonietta De Lillo suffered an injustice that stopped her career in its tracks and relegated her to the backwaters of the industry, where she would be barred from making another feature film. Taking the form of a self-portrait, the film freely revisits the life and career of its subject, nearly forty years after her first film.
Sofia and Valerio, both with divided families, learn to know each other during a sultry Neapolitan summer. They are two kids still subjected to their parents' mood swings and generational confusion. While waiting for the holidays and the entrance into a more adult age, they will learn to look at adults with detachment.