Matteo Bianchi

Exposed to radioactive waste, small-time crook Enzo gains super-strength. A misanthropic, introverted brute, he uses his powers for personal gain until he meets Alessia, a mentally ill girl who believes Enzo is the hero from her favorite anime, Steel Jeeg.

The story is about Eva, a Ukrainian girl who has come to Milan to work as a model. As soon as she arrives in Italy she attracts the attention of the male world. All of the men that she encounters seem to be solely interested in exploiting her beauty: and so we have Luke, the stalker, who never stops tormenting her with text messages and phone calls; Airoldi, the shady television producer, who offers her various jobs in exchange for her sexual favours, and lastly, Tom, a vile photographer, who has no scruples whatsoever. After being raped at a party by Tom and two of his colleagues, Eva is invited by Cindy, her flatmate, to a sort of Sabbath, attended solely by women, in a place outside Milan. From that moment on, the gateway to success in the fashion world opens before Eva and, at the same time, a tremendous vendetta begins against the violent male world.

The true story of Antonio Maglio—doctor, academic, and director of INAIL—who played a decisive role in the creation of the first edition of the Paralympics, held in Rome in 1960 after the Olympic Games.

The Cinema Mexico is one of the last single-screen cinemas left in Milan. Its story is inextricably tied to the figure of Antonio Sancassani who ran it independently for the past thirty years taking care of every single aspect. At the cinema Mexico he presents independent films, debuts, films in original version, documentaries, forgotten films or films that have been "burned" by large-scale distribution offering them a second chance. The thirty-six years of the Rocky Horror Picture Show and two extraordinary years of The Wind Blows Round are only some of the successes that have made of the cinema a reference point for insiders from all over Italy. A passionate portrait that reflects on the fate of small cinemas and on the difficulties for independent cinema that is suffocated by the laws of the market, by online streaming and by the television.