Mirko Fabbri

In this poetic portrayal of Luigi Ghirri (1943–1992), a master of contemporary photography, the director gives voice and, in particular the image, to the protagonist. The photographer takes the audience on a tour of the outskirts of daily life as seen from the corner of his eye, the area in between what is artificial and authentic or grand and small – the meso-scale.

In an Italian village, where the idyllic beauty of the landscape belies the toughness of life, word has it young Pietro has psychokinetic powers. A tender portrait of a young boy, and an allegory of the science of invisible forces.

The story takes place in March 1999, Kosovo. It is the period of NATO bombing. Massive displacement of Albanians on ethnic basis. Terror, fear, insecurity and hunger have plagued the town of Gjakova.

The film highlights the relationship between women’s growing social empowerment and the rise in sexual abuse by men – a trend that was the opposite of what was largely expected to happen. The film revolves around Marina Valcarenghi, psychotherapist and psychoanalyst with a forty-five-year career in clinical work that has allowed her to observe the persistence of women’s insecurity, despite the economic and social independence they have gradually achieved, and understand why. Valcarenghi was the first to introduce psychoanalysis in prisons, starting with the Opera and Bollate penitentiaries. For twelve years she worked with male inmates held in solitary confinement; most of them had been convicted of sexual violence.

No description available.

A band leader loses his senses.