Vittorio D.

Pontecorvo is one of those Italian filmmakers marked for life by neorealism. He declares that he decided to do cinema after leaving a screening of "Paisa" by Roberto Rossellini. The future filmmaker was then in Paris, a year after a war during which he became one of the main figures of the Italian resistance and one of the founders of the Youth Front. Leaving his status as a war hero behind him, Pontecorvo made his directorial debut with "Giovanna", a short film heralding a cinematic career dedicated to what he himself calls the "dictatorship of truth."

With her father on trial, 15-year-old Mignon leaves Paris to stay with her Italian relatives. The rather prim, snooty teen at first struggles to fit in with the more earthy Forbicioni family, each with their own problems. Eventually she bonds with her lovestruck little cousin Giorgio—who'll learn important life lessons over the course of his summer with Mignon.

Italy, 1977. Professor Bruschi is a retired widower who lives according to a strict routine he set for himself. An ardent old-style communist, he has always been at odds with the unconventional lifestyle led by his son and his hippieish girlfriend Stella. When their four-year-old daughter is left in his care out of the blue after the two break up, the old professor becomes a sort of father figure to the girl, growing fond of her. However he's once again challenged when Stella also arrives for a stay in his elegant villa, reclaiming custody of her daughter.

The documentary focuses on Marco Ferreri and shows an unconventional man, extreme, provocative in ways, always a step ahead in its work, and often considered a visionary and experimental. The documentary honors the memory of a filmmaker too soon forgot that left an indelible mark in the seventh art.

The life and work of master Italian filmmaker Mario Monicelli (1915-2010).

After shooting to fame with Federico Fellini’s “La Dolce Vita” (1960), actor Marcello Mastroianni (1924-1996) starred in more than 160 films in his nearly half-a-century career. Directors Mario Canale and Annarosa Morri look into the melancholic charm of one of the most famous Italian actors through interviews with his two daughters, Barbara and Chiara; directors Fellini and Luchino Visconti; actresses Claudia Cardinale and Anouk Aimee; and in archival footage of Mastroianni himself. The subject matter ranges from Mastroianni’s passion for kidney-bean pasta and his addiction to the telephone to his famous laziness, humility and talent. Shown in black-and-white, Mastroianni — elegantly holding a cigarette in between his fingers — is undeniably the dandy.