The feelings of dismay which often occur in adolescence are even stronger when this moment in life is lived far from one’s homeland. Over the last few years, family reunification has brought many Chinese girls and boys to Barge and Bagnolo, two small communities at the foot of Turin’s Alps. The movie camera constructs delicate portraits of adolescents in search of identity, with moments of suspension when alienation takes the upper hand.
Lou Castel’s existential parabola in Italy. Life “trapped” between two emblematic characters: Alessandro in Fists in the Pocket and Giovanni in Those Eyes, That Mouth. As Castel crosses Rome, suspended between post-industrial archeology and Pasolinian ruins, he unleashes a long flow of (sub)consciousness about the complexity and contradictions of his role as both actor and political activist.
In a decadent Rome, where the neurosis of modern times is expressed through cynical and vulgar humor, Mauro Bonanni, who grew up in the suburban neighborhood of Tor Pignattara, approaches old age with deep existential disquiet. Like many others, he endures the invasion of illegal immigrants. And yet this suffering, existential rather than ideological, proves to be contradictory and open to unexpected solutions.
Kim Hak, a young and talented Cambodian photographer, searches for new imagery of his country. Nhem Ein, a photographer under the Khmer Rouge regime who has taken roughly 14,000 photos of the victims, wants to make a name for himself as a tourist entrepreneur. Photography becomes an instrument for knowing the man and his relation with time, the past and his history.
At Chalon-sur-Saône, the future takes place in the present, along the river, in the forest, among the ruins of abandoned factories, in the deserted shipyard with its immense, bent cranes, or in the hospital which has been swallowed by the river. ZimmerFrei looks with the gaze of science fiction and, with the inhabitants, tries to imagine what future awaits the city, where the water often lays down the law.
In an African village, a blind man is sitting in the shade of a tree, listening to his land. In a not-too-distant past, the country witnessed brutal massacres, and today some of the people remember and tell the stories. But one day, the blind man decides to leave and go on a journey. He gropes his way through this land that is full of familiar stories which have finally been set free.
A sport, a subversive activity, a sub-culture: skateboarding eludes every form of cataloguing. To consider its relationship with urban space is like editing the variety of forms and materials the environment offers. This is what happens in Pro Loco, in which documentary shots alternate with animated stories, “to choose from reality things that are in your head.” Or vice versa.
A father who got out of the life of his one-year-old son. A son who never wanted to have anything to do with that father until the day he listens to a voice mail from him. It’s the beginning of a solitary journey through Sicily, to track down the man and record it all with a video camera. Five years later, that filmed footage takes shape as a film.