Enzo Moscato

About the misadventures of Desiderio, a pretty young Neapolitan transsexual, and of her group of transvestite friends. Disappointed in love and politics, they set up an organic farm and psychological help centre for men in crisis.

In 19th-century Italy, Giacomo Leopardi channels his debilitating illness and isolation into poetry.

The portly meter reader Crecenzio is first seen blowing up a building. The reasons for this drastic, desperate act provide the basis for the story, which is told in flashback.

In a landscape of fields and ruins, a group of figures move together, humble and mythical, poetic and popular. They are the characters of a Don Quixote reconstructed within multiple temporal dimensions and different imaginary horizons. Armed with a shield and spear as well as a profound knowledge of 20th-century literature, the Hidalgo of La Mancha comes back to life among pylons and wind turbines, unfinished buildings and archaic sculptures, accompanied by an ironic and sly Sancho Panza. Entrenched with courage in a crazy vision of the world and art, populated by angelic women and storytelling magicians, the knight errant comes to meet death and accept the inevitable mediocrity of reality.

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.

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.

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.

Set in the 1790s, this historical drama follows the travails of an idealistic noblewoman who helps lead a daring revolution in Italy.

The Divine Comedy, in particular Hell, becomes a nativity scene and therefore life in the visions of the trans-avant-garde artist.

In Naples the term femmenèlla or femminiello refers to a homosexual male with feminine expressions. A reality that hides very ancient historical origins and that, not by chance, developed in Naples, a city that has always been able to be a laboratory of tolerance and acceptance. In the younger generations, however, we are now witnessing the dual phenomenon of enculturation, whereby some of those who in the past would have called themselves "femminielli" today call themselves, if anything, "trans." Lack of ideological support within the community creates fertile ground for the emergence of misunderstandings within the family environment, and trans Neapolitans often see themselves marginalized within their own families. This reality is seen through Alessia Cinquegrana, born as Giovanni, 29, the first trans bride in Italy, and Alessandro, 25, an actor and drag queen, an activist in the Neapolitan LGBT world.

Three episodes. In the first, Aurora lives in a luxurious apartment. Among some workers called to her house, she recognizes an old lover, who returns to courting her, but then empties her house. In the second, a boy released from reform school discovers that his mother is actually his father: a transvestite. In the third, a newsagent, suspecting her husband, who constantly pretends to be ill, is cheating on her, places a video camera in her room. She records his sexual encounters on a videotape that she sells at newsstands. In his directorial debut, Corsicato demonstrates a sharp and poetic talent (he was Almodovar's assistant) in creating three portraits of women that are also portraits of his city, Naples.

Naples told, through the centuries, in an anthology: Dadapolis by Fabrizia Ramondino and Andreas Friedrich Müller. A city always full of ferment, culture but also contradictions. In the film, however, today's city is told through the eyes of about sixty artists who live and work between Naples and abroad. A kaleidoscopic story made up of performances, songs, works of art and dialogues that narrate the transformations of a city, which never before has turned out to be so topical.

A surreal travel drama, shot on Sicility with Italian actors. IlViaggio Clandestino is a film about saints and sinners. Whether you areblessed or doomed is often dependent on someone's soul that on whether theypray or suffer. The kindred spirit of San Gil ! the Holy Gil ! is CiccioBavaria who, unilke the former, continues to seek sin. For Bavaria sin isliberating and dynamic. The film tells the story of the journey made by thesetwo protagonists; a journey that leads to the demise of San Gil, while Bavariais reincarnated as Buddha. There is another traveller, a clandestinetraveller. Christ, always fleeing the angels. This Christ does not helphumanity with miracles, but by keeping himself alive as best he can givingweather forecasts.In this strange sainty story, Ruiz allowed himself ot be inspired byapocryphal books about saints of flesh and blood.

Mario Martone films the eponymous stage show by Enzo Moscato.