Giulio Squillacciotti

Antonio's first day as a thief is marked by tears. During an incursion at the mall, his mother is arrested. Some 20 years later, Antonio along with his two inseparable friends, after some minor robberies, take on a post office. Things don't go as planned.

The mood of the film is that of a bare theatrical representation that lives only on its characters. A daily street verbal brawl is portrayed in a performative act with no beginning nor end. Seems like somebody is about to fight, but they never get to that, or are they? The scene takes place somewhere for a whatever reason, in a cycled loop of gestures and expressions. Some are watching, some others take pictures, while a woman tries to calm the clash down.

The lively goings-on of a modern family seen trough the eyes of a young girl just about to receive her first Communion.

Men and women in the Horn of Africa and adjiacent regions of the Middle East tell stories of their relationships and contacts with demons and spirits in their life and culture.

No description available.

On February 7th 1992, the Treaty on European Union was signed in the Dutch city of Maastricht. Decades later, the representatives of the last three countries left in Europe meet again in the very same room where it was signed, this time to deliberate on the permanent shutdown of their Union. In what seems to be a looped therapy session, the three characters - helped by a British interpreter as a self-appointed analyst - try to deal with their feeling of loss.

Mut (mountain in Bergamasque dialect) is a day in the mountain pastures, an allegory of a summer season in the mountain pastures that has been repeated for hundreds of years. Through the eyes of two young farmers and their parents, the cyclical nature of life in the mountains becomes a universal portrait of working with animals and a family relationship made up of gestures, silences, and affection immersed in nature.

Short movie by Giulio Squillacciotti.

10 years of the hardcore subculture in Rome.

In a fake studio visit/interview, an Irish artist is asked to perform a script regarding the transmission of an artistic process preceding a work of art. Nothing is hers here, not even the script; that is why, as an artist, she might be disagreeing with everything she is asked to perform. Her “artist” status, though, should give credibility to what she is saying.