Enrico Ghezzi
1952 (72 года)Blu cobalto
Gianfranco Fiore Donati
Anna Bonaiuto, Enrico Ghezzi
Docu-drama about cancer patients. An elderly farmer, believed to be mad by his family, dispenses wisdom to the other patients; an actress takes advantage of the hospitalization to shed light inside herself; a young doctor lives with schizophrenia his condition as a patient.
Blu cobalto
La balena di Rossellini
Claudio Bondi
Roberto Rossellini, Renzo Rossellini
La Balena di Rossellini origins from one of the most beautiful Roberto Rossellini's dreams, an exemplary project for his autorial path. The film conceived, but never realized, by Rossellini took shape in his notes after a trip to Chile conducted in May of 1971, a trip made to conduct an interview-portrait of Salvador Allende, then actually carried out by the director of "Rome, Open City". October 28, 1971: Rossellini, back from Santiago, Chile, reads a newspaper reports of a beached whale on the Pacific coast near a poor village inhabited by fishermen. From this simple news comes a film script for a fable about wealth and poverty. A film whose shooting Rossellini would have been entrusted to the young student Claudio Bondì, just graduated from the Experimental Center of Cinematography.
La balena di Rossellini
Chant d'hiver
Otar Iosseliani
Pierre Étaix, Mathieu Amalric
A deadpan, picaresque buddy comedy about two old friends through a series of urban adventures, loosely connected by the skull of an executed French aristocrat. Winter Song is a typically irreverent Iosselianian jaunt through a classy Paris apartment block contemplating the past, present and future.
Winter Song
Pornomi
Marco Giusti, Sergio Grmek Germani
Enrico Ghezzi, Sergio Grmek Germani
Enrico Ghezzi cuts out porn magazines looking for a fake cataloging criteria, while Sergio Grmek Germani, off screen, reads and comments on a pornographic filmography edited by Marco Giusti (published by Italian magazine Filmcritica), correcting errors and underlining his insufficient pornophilia.
Pornomi
Casa dolce casa
Tonino De Bernardi
Joana Preiss, Lou Castel
A young woman wanders down an endless corridor, while other people knock at a door at night. A man takes a picture of Montmartre, two women hand him some money, while a patron manages from rue de Mhyra a network of Italian call girls. Adiba sings an ancient Moroccan song in a room full of children, while Vidya is performing her daily puja in Pune (India). Giuli sings to herself as she drives at night through Turin and runs to the station at day. Parallel stories where every character is caught “in a situation,” closed.
Home Sweet Home
Il passato è il mio bastone
Antonio Rezza, Flavia Mastrella
Cristina Piccino, Steve Della Casa
We started to make an extra to be included in our first DVD "Democratic Optimism", a collection of short films in black and white we shot between 1990 and 1999.
The Past is My Stick
Hotel de l'Univers
Tonino De Bernardi
Joana Preiss, Lou Castel
“Why did you kill her?” Lou asks Philippe again. The life-odyssey of Joana, a modern-day Moll Flanders, continues as she moves through different times and places, like the stations of a personal via crucis, with occasional leaps into the present. From Paris to Rome and on to São Paulo. The body has lost every value, except the economic one.
Hotel de l'Univers
Resurrezione
Tonino De Bernardi
Joana Preiss, Giovanna Giuliani
The film is a rendition of Resurrection, Tolstoy’s last novel. It begins with a reading of the beginning of the first part in Naples, in September 2012. It moves on to Berlin, Locarno 2013, Oneglia, Paris, Casalborgone, and it ends in Milan with the beginning of the second part. The places and times change, and so do the people doing the reading. But also, in the middle, real people and voices surface, like Adamo Vergine at his home and Jean François Neplaz in Marseilles. The film searches for the possible faces of Tolstoy’s two protagonists in Oneglia, Procida, and Casalborgone.
Resurrection
On ne saurait penser à rien
Enrico Ghezzi
Aura Ghezzi
"Cinema is the first moment in which the world sees itself then we know it is fake, which is a trick [...]. It is a small system, mechanical, banal, simple, corruptible, but it is sufficient to produce a review of the world, we are never interested in doing without living, without loving, we are never interested in making this film for other reasons »
On ne saurait penser à rien
