A group of visionaries decide to take a baroque a statue of Christ where it was planned to be by its sculptor, Francesco Mochi. During the trip, Christ breaks the four-hundred years silence and speaks to John the Baptist.

This is the diary which the French philosopher Simone Weil kept when, as a twenty-five-year-old, she took a one-year sabbatical from school and her studies and worked in a Parisian factory from December 4, 1934 until August 1935, running the presses at the Alsthom electric company. This experience formed the basis for her book La condition ouvrière. The written chronicle of her days is visually accompanied by a continuous flow of dark rooms and the urban landscape of Île Seguin (suburbs south of Paris), paying particular attention to construction sites and factories.

A man and a young woman meet by chance in Paris and a relationship begins between them. The empty space of a bare apartment welcomes the fleeting encounters of these two strangers. The backdrop is the enveloping and rarefied city, the stage of their liaison and at the same time the protagonist of the film. The city with its urban structure codifies the watershed between the social classes and allows us to glimpse its balances and rules. The encounters, the bare dialogues between the protagonists, give voice to a paradigmatic distance of a society that is s/finite and without redemption, surrendered to the dominant values ​​that the protagonist, in the end, questions in an attempt to arrive at a new reformulation.

Whoever crosses the threshold of a mental health institution immediately finds themselves on a different planet. In PIANO SUL PIANETA, Fabrizio Ferraro’s superb black-and-white images create a dystopian tale, suspended in time but hugely restricted in space.

The mystery of entire districts of the metropolis that are emptied of human presence. A disturbing new order that investigates and represses. The lives of three women intertwine in an ambiguous game of escapes and captures, in which the roles of victim and executioner are exchanged to the point of confusion.

The mystery of entire districts of the metropolis that are emptied of human presence. A disturbing new order that investigates and represses. The lives of three women intertwine in an ambiguous game of escapes and captures, in which the roles of victim and executioner are exchanged to the point of confusion.

The mystery of entire districts of the metropolis that are emptied of human presence. A disturbing new order that investigates and represses. The lives of three women intertwine in an ambiguous game of escapes and captures, in which the roles of victim and executioner are exchanged to the point of confusion.

This is the diary which the French philosopher Simone Weil kept when, as a twenty-five-year-old, she took a one-year sabbatical from school and her studies and worked in a Parisian factory from December 4, 1934 until August 1935, running the presses at the Alsthom electric company. This experience formed the basis for her book La condition ouvrière. The written chronicle of her days is visually accompanied by a continuous flow of dark rooms and the urban landscape of Île Seguin (suburbs south of Paris), paying particular attention to construction sites and factories.