펠리체는 무려 40년 만에 고향 나폴리를 찾았다. 레바논, 남아프리카를 거쳐 이집트에 정착하기까지 긴 세월이었다. 다시 온 나폴리는 거리도, 사람도, 언어도 모든 게 낯설다. 곳곳에 그를 경계하고 의심하는 눈들이 있다. 펠리체가 돌아온 진짜 이유는 과거의 그 자신과 정면으로 마주하기 위해서다. 영화는 열다섯 살 소년 펠리체와 현재의 그를 교차한다. 그 시절 그는 오레스테와 우정을 나누지만, 뜻하지 않은 사건에 휘말린다. 그 길로 펠리체는 나폴리를 떠나 자신을 보호했고, 오레스테는 암흑가의 두목이 됐다. 부채감과 죄의식 등이 뒤섞인 복잡한 심경으로 펠리체는 오레스테를 수소문한다. 외면하고서는 한 발짝도 더 나아갈 수 없음을 잘 알기에. 낭만 가득한 향수로 치부하기에는 과거가 너무도 치명적이고 냉혹한 현재 진행형의 현실이다. 나폴리 태생의 감독 마리오 마르토네가 거칠고 투박하며 범죄의 기운이 생생히 감도는 나폴리의 골목골목 분위기, 사람들의 생리를 간결하고 정확하게 표현해 낸다.
Rome, summer 1943. Four children play war while the bombs of real war explode around them. Italo is the rich son of the Federal, Cosimo has his father in confinement and an atavistic hunger, Vanda is an orphan and a believer, Riccardo comes from a wealthy Jewish family. They are different but they don't know it and between them "the greatest friendship in the world" is born, impervious to the divisions of history that bloodies Europe. But on October 16 the Jewish boy is taken away by the Germans together with over a thousand people from the Ghetto. Thanks to Italo's father Federale, the three friends believe they know where he is and, to honor the "spit pact", decide to leave in secret to convince the Germans to free their friend. Yet another imaginative mission becomes reality, the three children travel alone in an Italy exhausted by war, among disbanded soldiers, deserters, occupying German troops, exhausted and hungry populations.
Louis is a talented jazz musician who, after giving up music, now makes ends meet by working as a taxi driver and dealing cocaine, but ruining his relationship with his wife and daughter. But when an old friend of his father offers him to join his band for an important concert, the protagonist is presented with an opportunity for redemption.
INSPIRED BY A TRUE STORY. In 2011 the Syrian people rise up against the Assad regime. When Dr. Haider, a pediatric heart surgeon, loses his brother in a terrorist attack, he decides to fulfill his last wish, finding himself questioning everything he has always believed in.
It's one of the many anonymous nights of quarantine when Irene's phone rings. It's Pietro, her ex. Irene hasn't heard him for months, since their story ended, she hesitates, but in the end she answers. Pietro is beside himself and his confused words suggest a desperate act. Irene just has to travel, to a ghostly city, without ever hanging up, with the hope of reaching him in time.
Dumped over a video he made to amuse his ailing dad, a heartsick Jérémy hatches an elaborate scheme to win back his superhero-loving girlfriend, Lola.
The story of two brothers, separated by time and their character, and their journey back to Italy, homeward, in the summer of 1956.
According to Interpol, over ten thousand refugees of minors without parental care are wandering today in Europe, half of which are on Italian roads. "Despite the Fog" is a movie story about one of them. In short: Ali-Musa Sarhan, a refugee whose parents drowned while traveling by rubber boat on the Italian coast in search of a better life, is accepted by family, husband and wife who have lost a child. They are trying to find solace in little Arab and a sort of replacement for their early deceased son, Mark. Valeria (Donatella Finokjaro) and Paolo (Giorgio Tirabasi) are increasingly confronted with resistance from the environment and their own family, who do not accept their decision to keep Muhammad - It is also a story of a world that is increasingly sinking into xenophobic fog.
Tehran, October 2022; a theater ensemble is rehearsing the ancient greek Lysistrata by Aristophanes. In the middle of a scene in which old men storm and attack the Acropolis, which the women of Athens have taken, the ensemble learns that they are surrounded because anti-riot forces are marching around the building and putting down a large demonstration. The street noise is deafening, and the room is filled with fear and anger. Some want to hide, others, led by the leading actress, want to go out into the streets and fight alongside the people. Despite disagreements, one thing is clear, the team does not want to continue the play in the time of the revolution.
A farmhouse in the countryside around Rome in the 70s. Livia and Pietro write a script for Luchino Visconti based on 'In Search of Lost Time' by Marcel Proust.
In the dressing room of the French cinema, minutes before attending a lecture, François Truffaut recalls his trajectory