Mario Masini

Alessandro has a thing or two to learn. Carroll Baker, in her role, is the perfect teacher.

The title Amore amore (Love, Love) defines the primary emotive motor of the film and constitutes the filter through which are selected the materials used - people, things, signs - and determines a good portion of the associations though which the sequences unwind.

The Ethiopian intellectual Anberber returns to his native country during the repressive totalitarian regime of Haile Mariam Mengistu and the recognition of his own displacement and powerlessness at the dissolution of his people's humanity and social values. After several years spent studying medicine in Germany, he finds the country of his youth replaced by turmoil. His dream of using his craft to improve the health of Ethiopians is squashed by a military junta that uses scientists for its own political ends. Seeking the comfort of his countryside home, Anberber finds no refuge from violence. The solace that the memories of his youth provide is quickly replaced by the competing forces of military and rebelling factions. Anberber needs to decide whether he wants to bear the strain or piece together a life from the fragments that lie around him.

Six sketches with as many ways of murdering someone, and getting away with it.

In the near future, big wars are avoided by giving individuals with violent tendencies a chance to kill in the Big Hunt. The Hunt is the most popular form of entertainment in the world and also attracts participants who are looking for fame and fortune. It includes ten rounds for each competitor, five as the hunter and five as the victim.

The true story of the life of Gavino Ledda, the son of a Sardinian shepherd, and how he managed to escape his harsh, almost barbaric existence by slowly educating himself, despite violent opposition from his brutal father.

Francisca, a beautiful 50-year-old widow, prepared a peaceful future for herself. In an unexpected outburst, she grabs an opportunity for change and embarks on a sailboat called ‘Hovering Over the Water’.

Explores the complex relationship between the spirit, body, and mind. The film is a nightmare with closed eyes because it counts among the most terrible moments of my life, my second exile, which lasted a very long time. Inspired by an ancient Hindu legend.

Pauline, a beguiling woman in her 60s, returns to her hometown, Turin, for the first time since she was ten years old. She has inherited her aunt’s apartment in town. In Turin Pauline contacts Dr. Angela Gualtieri, a psychologist whom she had met abroad some time before; Angela runs a maternity centre, the Melograno, a support centre where both mothers to be and young mothers with post natal depression seek help. At the Melograno they are constantly short of help, that’s why Angela asks Pauline to give her a hand in setting up an in-house archive collecting different material relating to maternity: video interviews to new mothers, mothers diaries, photo portraits of mother and child. Pauline accepts and starts her work plunging deep in an emotional material that touches her strongly: the controversial feelings experienced by women in their relation with the child.

After rescuing a man from a suicide attempt, Geneviève's life is hijacked by his verbal and emotional abuse, yet she can't seem to tear herself from him.

Faccia di spia tries to tell the story of the CIA and other government intelligence agencies with lots of re-creations and dramatizations and points out some of the more brutal aspects of the intelligence community from around the world. Wars are started, all facets of everyday life are controlled, innocent people are tortured needlessly and subjected to extreme violence.

Wolle has lost his apprenticeship. Out of shame, he hides it from his parents and his girlfriend, who leaves him as a result. He starts drinking and joins a group of unemployed young people who are mainly interested in motorcycles and are in constant danger of going off the rails. The Benedictine brother Lukas wants to get the young people off the streets and sets up a youth club with them. But when they are suspected of having committed a theft, the club is closed down. The young people occupy it. The police want to storm it. Wolle goes up to the roof and threatens to jump down.

An enterprising producer believes he has hit upon a winning concept: a program of original animated shorts set to classical music. Undeterred by warnings that this has already been done by an American named 'Prisney,' he rallies an orchestra of geriatric women, a bullish conductor, and an animator that he keeps locked in the dungeon. What could go wrong?

Sylvia, an industrial scientist, is troubled by strange hallucinations related to the tragic suicide of her mother.

In 1966, Bene presented The Pink and the Black, his successful theatrical adaptation of Matthew Gregory Lewis’ lurid Gothic novel from 1796. Experimental filmmaker Paolo Brunatto filmed some of the play’s rehearsals in a Rome apartment (also frequented also by the Living Theatre). Bene's artistry is encapsulated in one sentence: “One cannot continue to prostitute the idea of theatre, which stands only for a magical, brutal link with reality."

In this acutely observed and sharply written debut feature from director Sylvie Michel, the contrasting parenting philosophies of a well-to-do divorcee and his immigrant cleaning lady becomes an angry debate over deeper issues of social class and cultural values when their teenage children disappear after a night on the town. (TIFF)

In La prova generale, Carlo (Carlo Cecchi) interviews with a tape machine and a microphone his young lover while the two wander in the beautiful splendour of a wood on the edge of the city.

The two friends alternate behind the camera, filming their two principal subjects, their partners Anita and Poupée.

A sophisticated visual essay that delves into the "ambiguously fascinating world of toys", drawing direct inspiration from the semiotic theories of Roland Barthes, the work approaches childhood objects not merely as playthings, but as a dense microcosm of cultural meanings and social constructs. Originally presented within the "Woman’s Gaze" section of the Kinomata showcase, Faloja’s lens acts as an analytical tool, peeling back the layers of everyday symbols to reveal the ideologies embedded in domestic life. It is an intellectual and cinematic reflection on language, education, and the subtle ways in which our material world shapes human behavior.

To the protagonist, an intellectual so feverish that he seems pathologically unrecoverable, a confused memory resurfaces of a massacre carried out by the Turks in Otranto. Immersing himself in one of the victims, in the unconscious desire to eviscerate himself, a woman appears to him, Margherita, who, in the guise of Santa Maria d'Otranto, treats him with compassionate love. In the hallucinating succession of memories intertwined with historical events, the protagonist finds himself in contact with his environment, his land, his country.