Antonio Rezza

The peaceful balance of a family living in seclusion on an island at the mouth of the Po River is shattered by the unexpected arrival of two fugitives on the run after a robbery. The idealistic family, determined to guide the bandits back to the right path, decides to hide them from the police. This forced coexistence, marked by suspicion, seduction, and subtle deceptions, sparks a clash between two opposing worlds: the utopian purity of the family and the ruthless cynicism of crime

Filming on Franco Maresco's film about Carmelo Bene is abruptly halted after yet another on-set accident. Producer Andrea Occhipinti pulls the plug, exasperated by the endless takes and repeated delays. Angered, the director simply disappears. Maresco's friend, Umberto Cantone, attempts to mend the rift by calling witnesses from all those involved in the project, in an investigation that offers an opportunity to retrace the personality and ideas of the most corrosive and apocalyptic auteur in Italian cinema.

A plastic magma of abstract images, voices and sounds surprise the viewer in a dreamlike and poetic universe, making him the protagonist of his personal trance. Experimental animation on 35mm film.

An iconographically already dead Christ, who assails life and goes astray, performing miracles with only the power of despair. In Antonio Rezza's reinterpretation, Jesus Christ never utters a word and expresses himself only with heartbreaking screams, capable of healing man and performing all kinds of miracles.

Samp is a professional hitman who is hired by a powerful president to kill traditionalists. On a personal level, he has psychological problems he treats with music. After killing his mother, he wanders through Puglia seeking his ideal woman. He encounters all sorts of people as he goes: nature-lovers, people out to find their roots, and an eccentric musician. Suddenly, Samp falls in love, not once, but serially. With women of little substance. He kills someone else and becomes almost human—and that humanity will put paid to his dreams of power.

A portrait of the dancehall punk band Extraliscio headed by the volcanic Mirco Mariani and the Casadei legend Marco Ferrara.

MILAN VIA PADOVA. A document that was born out of an excess of zeal in an investigation into the people who live on the street. The film tells of racism and intolerance through singing that shows the sweetness of a forgotten rhythm. The unusual reality reaches performative peaks when personal and social problems are intertwined. It is a film on the verge of becoming. It was born as a synthetic work but like the themes it deals with, it prolongs its life over time. After four years it became a feature film.

Is art useful to man? The actors are suited to society. Passers-by are people who want to dream but have now lost confidence, laziness on the one hand, conditioning and deschooling on the other, require you to lower your sights and everyone is content to pursue modest cheap expectations. Reality and art are not in communication, impoverished by individualism, the actors and artists dance to the rhythm imposed by power, they slaughter each other, they abuse each other without realizing the possibilities of communication that open up by moving outside the choir. Rome is occupied by every step, the foot walking lightly occupies the public land. But this occupation is not news because it is lightning fast. The criteria of employment mark the time.

No plot available for this movie.

Path in progress on the intentions of those who think badly. The discomfort of the mind of those who have no discomfort is greater than that of those who make discomfort their natural expression. "Troppolitani Outside Where?" it is a journey through the folds of the human and inhuman mind. A one-way trip that does not allow for escape: you remain trapped in the thought of whoever is in front of you. One is stunned by the astonishment that the deviated mind is able to arouse.