Cristina Chiriac

Tommaso is an American expat film director living in Rome with his young wife and their daughter. Disoriented by his past misgivings and subsequent unexpected blows to his self-esteem, Tommaso wades through this late chapter of his life with an increasingly impaired grasp on reality as he prepares for his next film.

Abel Ferrara headlines a film retrospective and a series of concerts in France dedicated to songs and music from his films. Preparations with his family and friends will form the material of this self portrait, showing another side of the director of legendary films BAD LIEUTENANT, THE KING OF NEW YORK and THE ADDICTION. Ferrara is joined on stage by past collaborators, including composer Joe Delia, actor-singer Paul Hipp and his wife actress Cristina Chiriac for concerts at the Metronum in Toulouse and the Salo Club in Paris in October 2016.

Clint is a dead man who lives alone in a frozen tundra. However, this isolation cannot bring either evasion or peace. One night, he begins a journey where he must confront his dreams, memories, and visions, crossing the darkness into the light.

Sportin’ Life is the sixth incarnation of the international art project Self, curated by Saint Laurent’s creative director, Anthony Vaccarello. This project is an artistic commentary on society while emphasizing the complexity of various individuals through the eyes of artists who evoke the Saint Laurent attitude of confidence, individuality and self-expression. The documentary is an exploration into the sources and personal history of creativity, the essential life of an artist. Raw and sharp, it has the feeling of a moment in time that is still happening. Abel Ferrara’s intimate and lush look at his own life, his world refracted through his art – music, filmmaking, his collaborators and inspirations such as Ferrara’s early works and his creative partnerships with Willem Dafoe, Joe Delia, Paul Hipp and the musicians who inspired this work.

Called to Rome to stop an imminent terrorist bombing, a soldier desperately seeks news of his imprisoned brother — a rebel with knowledge that could thwart the attack. Navigating the capital's darkened streets, he races to a series of ominous encounters to keep the Vatican from being blown to bits.

We are with Pasolini during the last hours of his life, as he talks with his beloved family and friends, writes, gives a brutally honest interview, shares a meal with Ninetto Davoli, and cruises for the roughest rough trade in his gun-metal gray Alfa Romeo. Over the course of the action, Pasolini’s life and his art are constantly refracted and intermingled to the point where they become one.

It is the end of World War I and the young Italian soldiers are making their way back to San Giovanni Rotondo, a land of poverty, with a tradition of violence and submission to the iron-clad rule of the church and its wealthy landowners. Families are desperate, the men are broken, albeit victorious. Padre Pio also arrives, at a remote Capuchin monastery, to begin his ministry, evoking an aura of charisma, saintliness and epic visions of Jesus, Mary and the Devil himself. The eve of the first free elections in Italy sets the stage for a massacre with a metaphorical dimension: an apocalyptic event that changes the course of history.