Private Peter

Filmaker Alina Marazzi assembles old home movies trying to piece together the life of her mother, Liseli, who committed suicide when Alina was seven years old.

Naples, Trajan's district. Initially it was intended for the inhabitants of the shantytowns on the seafront of Naples, who were homeless after the war. But it soon became a kind of ghetto. Alessandro and Pietro are two teenagers who film with an iPhone to tell their difficult neighborhood, their daily life, the friendship that binds them.

Image and music are intertwined in this third collaboration between director Godfrey Reggio and composer Philip Glass. The film was produced to celebrate the World Wildlife Fund's Biological Diversity Campaign. The film combines images of nature with pulsing rhythms in a Microcosmos (1996) meets Koyaanisqatsi (1983) spectacle.

In a world almost like ours, Jonah works for an agency that offers human relationships. When he's hired to serve as Nika's father, he begins to lose control of his tightly controlled life.

Goffredo Fofi does not want to be considered an intellectual but he has spent his life founding magazines, writing books, reviewing movies. The film portrays his tireless political and cultural work, his encounters with famous figures, the extra-parliamentary groups, ideological excesses, discovering new authors and directors. Social work as a political resource. The profile of a heretical intellectual and an extraordinary cultural organizer reveals a very critical view of Italian society, its power mechanisms, and the injustice that leaves a mark on it.

Two childhood friends from a tough Milanese suburb—one a low-level drug dealer, the other stuck in a back-breaking, underpaid job—find their bond tested when they both fall for the same girl against a backdrop of escalating social unrest in their neighborhood square.

Pauline, a beguiling woman in her 60s, returns to her hometown, Turin, for the first time since she was ten years old. She has inherited her aunt’s apartment in town. In Turin Pauline contacts Dr. Angela Gualtieri, a psychologist whom she had met abroad some time before; Angela runs a maternity centre, the Melograno, a support centre where both mothers to be and young mothers with post natal depression seek help. At the Melograno they are constantly short of help, that’s why Angela asks Pauline to give her a hand in setting up an in-house archive collecting different material relating to maternity: video interviews to new mothers, mothers diaries, photo portraits of mother and child. Pauline accepts and starts her work plunging deep in an emotional material that touches her strongly: the controversial feelings experienced by women in their relation with the child.

Maria, a Mexican migrant, is pregnant. Her husband Giorgio is sterile. She conceals the pregnancy from him out of fear he might suspect infidelity. Caught between doubt and longing, both seek tenderness elsewhere. Fascinated by the unknown, their feelings drive them into the depths of love. There, where only trust can prevent them from losing one another.

Ten years after Selfie (2019), Ferrante goes back to Rione Traiano in Naples diving in the frames that were cut out. He finds a choir of vital and restless teenagers, and asks himself not what kind of the life did they had, but what kind of life they could've had.

What remains of the Island of Ischia and the Villa? What remains of these landscapes in which Luchino Visconti, icon of the cinema, lived and dreamed so often?
He declared, probably referring mischievously to the Italy of his time, that "you should never stop building your house... "
What remains of his loved ones, of those who like him resisted fascism and its potential and threatening return? The film will explore this legendary place, through the emptiness of the villa and its abandoned, decrepit but still present walls, reminiscent of the effervescence of the ideas and projects developed in that place.
By returning to the island of Ischia, by finding the house as it is today, by reviving it as it was during the time of Visconti, thanks to images of the present, archival documents, and by making links with the aestheticism of his films, we will discover the filmmaker in a singular way.

London-based Italian Antonio bets on everything, from the lottery to horses and soccer matches without ever winning or losing the hope of winning; so convinced that his luck is going to turn that his betting companions have started to call him "Win tomorrow". One day Antonio notices that he's being followed by a suspicious looking stranger, well - dressed and obviously rich. This happens frequently, causing Antonio to become very concerned. Alarmed, he tells wife and gambling companions about the situation, but they all just make fun of him, convincing him he's the victim of his imagination.

During the late 1960s, Emilio Sidoti, an elementary school teacher in Albisola, decided to make some movies with his students in order to develop their critical gaze in a free and radical expressive pathway. This was the start of “Cinema dei ragazzi,” Italy's first experience of “school and cinema;” it generated over twenty movies, all shot in Super8, and most of them were entirely written, directed, and edited by the children. Starting with the material of the time, this unique experience is put into relation with the present time, as the children of back then - who today are adults - are asked to recount the impression it left on them.