Making a Splash

In this documentary, survivors recall the catastrophic 2018 Camp Fire, which razed the town of Paradise and became California’s deadliest wildfire.

What's on the other side of Fornells bay? Pepe el Malo is an urban legend or he really existed? This documentary doesn't try to shed light on the dark; it rather plays deftly with the ambiguities of a character that is part of the Menorcan imaginary.

Z vôle ľudu zrodené

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.

A documentary about the possible ties between H.P.LOVECRAFT and the Polesine region (Italy), stimulated by the casual discovery of a mysterious manuscript attributed to the great American horror writer died in 1937.

Short film about the Manzanar Japanese American internment camp. Preserved by the Academy Film Archive in 2011.

Minuta ticha

A group of people are standing along the platform of a railway station in La Ciotat, waiting for a train. One is seen coming, at some distance, and eventually stops at the platform. Doors of the railway-cars open and attendants help passengers off and on. Popular legend has it that, when this film was shown, the first-night audience fled the café in terror, fearing being run over by the "approaching" train. This legend has since been identified as promotional embellishment, though there is evidence to suggest that people were astounded at the capabilities of the Lumières' cinématographe.

An exploration —manipulated and staged— of life in Las Hurdes, in the province of Cáceres, in Extremadura, Spain, as it was in 1932. Insalubrity, misery and lack of opportunities provoke the emigration of young people and the solitude of those who remain in the desolation of one of the poorest and least developed Spanish regions at that time.

A short documentary about a homeless couple who face the ban on being on the street during 2020 quarantine. Just through their eyes, the two protagonists show us a different Milan, silent and suspended.

Documentary on industrial lubrification.

A lyrical and nostalgic analysis of how Casablanca, the mythical film directed by Michael Curtiz in 1942, has influenced both film history and pop culture.

A film in three parts after Oskar Schlemmer's Triadische Ballett (Triadic Ballet).

Sarajevo in the twentieth month of its besiegement. The situation is critical, but the city chooses to organise an international film festival. Dutch filmmakers Johan van der Keuken and Frank Vellenga present Van der Keuken's documentaries Face Value and Brass Unbound there, and one of the festival organisers asks a festival visitor: "What is the significance of film in war?" In Sarajevo Film Festival Film, a reflection on film, war and daily life, fictional images are juxtaposed in a disconcerting way with the gruesome reality of the life of a festival visitor.

Biopic filmed in a single shot about the Majorcan musician Juanjo Monserrat.

Ava

Filmmaker Alain Resnais documents the atrocities behind the walls of Hitler's concentration camps.

Taking the form of a conversation between a young teacher at a French school in Moncton and her students, the film shows how hard it is for francophones to preserve their language in a society where English is everywhere and has been for centuries.

Sigmund Jähn, (East) Germany's first man in space, and the preparations for the space flight are portrayed.

A metacinematic reflection on the nature of representation and the ongoing drug war in Mexico, Nicolás Pereda’s Flora revisits locations and scenes from the mainstream 2010 narco-comedy El Infierno, exploring the paradoxes of depicting narco-trafficking on film—its tendency both to romanticize and to obscure. To screen is both to project and to conceal.