Florence is for Lovers

91-year-old American-born Canadian physicist Anthony S. Arrott spends his days alone in his Vancouver apartment, continuing to work on his research in the field of magnetism. He lives surrounded by the hundreds of faces drawn by his late wife, New York City- and Vancouver-based portrait artist Patricia Graham Arrott. Dr. Arrott is filmed over the course of a five-month period by first-time filmmakers Lily Ekimian (Arrott's granddaughter) and Ahmed T. Ragheb. Dr. Arrott works hard to finish his work as he reflects on his life and marriage in this intimate portrait.

An Egyptian living and working in Pittsburgh, Pennsylvania, reflects on his new surroundings through a series of images and observations. The resulting montage is a poignant cinematic postcard that explores the contradictory nature of the immigrant experience: at once lonely, frightening, and exhilarating.

Ahmed (Ahmed T. Ragheb), an Egyptian-American aspiring actor, anxiously awaiting news of his latest film audition, gives in to his superstitions and sets off on a journey across Pittsburgh, trying to force the hands of fate. Lily (Grace Cooper), a photography student, meanwhile, criss-crosses the city unseen on a journey of her own, photographing and recalling scenes from her past.

When Aziza finally shares a recurring dream, it’s what she leaves unsaid that reveals her fractured sense of self. Aziza’s dream – in which she must sing a song – takes her on a journey through the post-industrial hills of the American Rust Belt, the eternal fields of Egypt, and the most repressed parts of her mind.

In the aftermath of her mother’s death, Nour awaits a visit from her aunt. Nour’s mother used to say that her aunt was a vampire, and as she anticipates her arrival Nour ruminates on her mother’s life and experiences as an Arab immigrant in the American Rust Belt.

A couple’s wedding day and an Amtrak train route are intertwined in this personal exploration of marriage and contemporary America. An enormous story – a train journey, a wedding and a tragedy – all in two minutes. A remarkable example of cinematic economy of means, the film’s brevity does not deter from its impact. Based on true events.