Antonietta De Lillo

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.

In the 1990s, an eight-year-old girl, Carolina, is traveling in a desert. There she meets the Saharawi, a people of exiles, chased out of their own land. In the refugee camps, the Saharawi believe that they will shortly be returning home, thanks to the referendum that will restore the Western Sahara, largely occupied by Morocco, to their own people. One day, as Carolina trudges through the dunes, a wind comes up and sweeps her into the future. Thirty years later: it’s still Carolina, but she’s an adult. She’s back in the same desert: the children she once knew are now young men and women, and new generation has replaced them: children who have just returned from Naples, which had taken them in, far from the desert, in a journey in the opposite direction. As past meets present, a painful truth sinks in: the referendum longed for by the Saharawi has turned into a mirage, and hope is dwindling in the face of new prospects, all of them troubling.

Naples, 1959. Pure Mathematics professor Renato Caccioppoli, Bakunin's grandson, is a tortured soul. Recently discharged from the psychiatric hospital, left by his wife, and increasingly disillusioned with academia and the Communist Party, he lives his last days with painful detachment.

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.

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.

Rome, Esquilino, summer. Rossella returns to Rome after years of absence and returns to her home, rented to her friend Salvatore, the set designer. The woman is gripped by an evident depression and wanders around the city that she does not recognize and that no longer recognizes her. People have changed and Rossella finds no one capable of answering the obsessive question that has plagued her for some time: "How can I disappear?"

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.