Genitori

2007. Fred, a 17-year-old girl who just moved from Sweden to Northeast Italy, enrolls for her high school senior year—finding herself the only female student in an all-male class. Lively and good-looking, she quickly becomes the center of attention, especially for three classmates: Antero, charming and reserved; Pasini, a cocky womanizer; Mitis, gruff and sagacious. The three have been best friends for as long as they can remember, but Fred's arrival puts their longstanding bond to the test. As each of the guys secretly desires Fred for himself, she yearns to be accepted into the group and be considered 'one of them', but is asked to sacrifice more and more in order to belong.

The aging, conservative population of a small, sleepy village in the Italian Alps are surprised to see that a former French professor has settled there with his young wife and their three children to produce goat cheese, in order to escape the wrongs of civilization. At first they are suspicious of his unconventional ideas and lifestyle, then are conquered by the enthusiasm, kindness, helpfulness of the young family and start to see in them a possible rebirth of the place. But little by little misunderstandings, envy and conflicts take over.

Summer 1996, north-east coast of Brazil. Tamara is enjoying her last weeks at the fishing village she lives in before departing to Brasilia for her studies. One day, she hears about a teenager nicknamed Heartless after a scar she has on her chest. Over the course of the summer, Tamara feels a growing attraction for this mysterious girl.

In northeast Italy is the Tagliamento River, tucked away almost like a secret spot on the border between Veneto and Friuli-Venezia Giulia. This documentary is a poem to that river and the people of the region, spirited, storied, and naturally beautiful.

A young woman in early-1900s Italy searches for a mystical sanctuary where her stillborn child can be brought back to life long enough to be baptized.

Jabir, Usama and Uzeir are three young brothers in a Sunni family of shepherds. Since childhood, their father Ibrahim has rigidly trained them in the principles of the Quran and has filled their minds with stories of the Bosnian War.

Gian, a 65-year-old ethnomusicology professor, fights the darkness caused by the sudden onset of amnesia. Flashes of the past, that blend with hazy archive footage, haunt his mind like a phantasmagoria of images. Despairing, Gian tries to end things, but he fails. In the aftermath, Miriam, the daughter he does not recognize, moves into his apartment with her son Elyas. She helps him find a diary written into his twenties that revolves around Leila, a girl with whom he discovers love in the space of one night. This emotion exacerbates Gian’s pain but pushes him to recover his memory.

Italy, late 16th century, the Church, threatened by the Protestants, unleashes the Inquisition. Menocchio, an old, stubborn, self-educated miller oppose the new order. Accused of heresy, he ignores the pleadings and stands trial. The story of a man incapable of betraying his own principles.

Branko has been a truck driver for only a few months, a choice that is quite understandable, given that he now earns three times as much as he did as a schoolteacher. But everything has a price, which is not always quantifiable in terms of money. As children we were told: “work ennobles man”. But here the opposite seems true: it is Branko, with his efficiency, his obstinacy, his good will, who ennobles a job that grows more and more alienating, absurd and enslaving.

Twenty-five films from twenty-five European countries by twenty-five European directors.

For Filmmaker Film Festival (2023), Fulvio Baglivi and Cristina Piccino asked some filmmakers (R. Beckermann, J. Bressane, D’Anolfi/Parenti, T. De Bernardi, L. Di Costanzo, A. Fasulo, F. Ferraro, M. Frammartino, S. George, ghezzi/Gagliardo, C. Hintermann, G. Maderna, A. Momo, A. Rossetto, M. Santini, C. Simon, S. Savona) to give us their own "lost road," that is, a sequence, scene or piece of editing that did not later find its way into the final version of one of their works. Each fragment has its own accomplished presence, often has a different title from the film it was made for, which is not necessary to have seen in order to find meaning; on the contrary, those who set out thinking they know the world they are walking through will find themselves displaced.