Marco Bechis

María is eighteen years old, she lives with her mother in an old house in Buenos Aires in 1978, subletting rooms and giving classes to poor illiterate adults. Suddenly she is abducted by a military squad and finds herself accused of subversion and submitted to torture in the hideous underground of the Garage Olimpo, while her mother desperately tries to find her.

Mato Grosso do Sul, Brazil, the present. When a young Guarani-Kaiowá woman commits suicide, Nádio leads his community to form a protest camp on the borders of a local farm that sits on their ancestral burial ground.

We are in Argentina in 1977, a woman gives birth to twins. With the complicity of the midwife he manages to hide the child, second child. The first, a boy, is taken into custody by the regime's guards. The scene moves to the Milan of today. The young Rosa contacts Javier and tries to convince him that they are twin brothers, separated at birth. Thus, the two begin a journey to rediscover their origins and their past. A bitter reality is ready to overwhelm them ...

Harvey, an old man from Scotland lives with his young son and daughter in an isolated house in Patagonia. Upon arrival of the emissaries of a development corporation he promptly stands against them by building a large fence (alambrado). A debut rich with sensibility and violent physicality, an unusual film of wind, isolation, loneliness, desolation ... and madness.

A documentary film that recounts the life of Vera Vigevani Jarach, through a firsthand account of two experiences that, over time and in different places, shaped her life, confronting her under two different dictatorships that made deportation and physical elimination commonplace: Nazism and Fascism and the Argentine dictatorship. The disappearance of her daughter Franca inspired Vera to become a founder of the Mothers of Plaza de Mayo and a "memory activist," touring Italy and Argentina to tell her two stories, ensuring that these horrors never happen again.

An anthology film following different stories around the theme of invisibility in the modern world.

Bangui, Central African Republic. 17 year-old Robert dreams of a career in music, but civil war is tearing the country apart. When both his parents are thrown into prison, he is left to look after his four younger siblings on his own, juggling daily life, odd jobs, school exams and concert stages, determined to follow his dream.

“Nobody Leaves Alive” by André Ristum is shot in beautiful but also distancing black and white. Looking at the Venice line-up, this seems to be a trend this year among the maestros of cinema. The film is inspired by true events that took place in the last century in the “Colonia” hospital in Brazil. Whoever didn’t fit the standards of society, or their family’s perception of it, was locked away, tortured, and killed. There were altogether more than 60,000 victims. Hope dies last, and some of the inmates don’t give up the fight. We’re reminded of film classics such as “One Flew Over the Cookoo’s Nest” or “Alcatraz”.

In late summer 1991, three Italians reach a hunting reserve in Croatia with a station wagon. They go to deer, but, unaware of what's in store for months, they do not decipher the enigmatic signs that surround them. One of the three is suddendly wounded in the knee by a bullet of unknown provenance, and they end up in a hotel targeted by snipers night and day.

It follows Mariano Guerra as he returns to Argentina to testify against soldiers who tortured him during the dictatorship, focusing not on revenge but on his inner struggle with guilt, trauma, and the lasting psychological impact of violence kept largely off-screen.

Using astounding footage from the Luce archives (newsreels, but also true films) Il sorriso del capo/The Smile of the Leader shows how propaganda works, presents everyday life in its most revealing details, and describes a country's "education". Marco Bechis explores the feeling of consensus: he tells us where it originates, what tools are used to spread it, how it is opposed. The thread running through the film is a voice, enigmatic until the end, narrating in the first person what it is like to grow up under fascism.