Mariangela Pluchino

Hanna teams up with her sister and counterculture friends to create a parody romance on Instagram between herself and young actor Ekku. Hanna starts living a crowd-pleasing love story for the public, only to find herself tangled up in the unresolved past with her “you were never my boyfriend” friend Lasse, who also happens to be the real-life co-writer and cinematographer of Fucking with Nobody. Fiction and auto-fiction crash and melt into each other, as writer-director Hannaleena Hauru plays the lead role of an ever-single film director Hanna.

Leonarda is a vegan soap maker and serial killer from contemporary Helsinki. She makes soap out of the bodies of her victims. She would do anything to protect her favourite child: Giuseppe. Based on the case of Leonarda Cianciulli, a serial killer from southern Italy during the 30s. A mix between documentary-fiction-dance movie-digital-16mm analogue-among other frolicsomeness.

Exploration of memories related to food and food making. Three women are preparing dishes personally meaningful to them, while the director's grandmothers recount the tales of what food and cooking meant for them throughout their lives.

As she keeps watching old home movies isolated in her hotel room, the screen becomes a mirror from which she tries to see herself. Levels of subjectivity, narrative, and reality entwine into a surrealist fever dream of scopophilic cinéma pur. The final layer of meaning is all of us watching the film on the screen-mirror in the theatre.

Winter 1975 - author Jeanette Aspen arrives at Lapinlahti Mental Hospital to meet her only child, psychiatrist Karin Aspen, 36 years after sending her daughter to Sweden as herself traveled to Southern Europe, at the start of the Winter War. The encounter triggers a drama between the mother and daughter, who are now total strangers to each other.

A widowed novelist needs help from his granddaughter to get his spark back, and become a storyteller once again.

Two women take hostage a man they mistake for an aggressor in a gas station. The three of them enact a ritualistic performance of revenge in a flamboyant film set.

A visual essay on the female body as a socially constructed discourse, Infinite Galatea showcases the model for man's experiments in privilege and power through time. From Greek mythology to Victorian gynecology to current AI technology, this is how gender, sexuality and desire have been ideologically shaped to fit a male fantasy.