Pesquisa avançada

It's September 1943, the days when chaos breaks out in the parts of Italy tormented by the war. Marshal Badoglio, head of the Italian government, manages to get the Allied forces to agree to an armistice and flees Rome along with the king, leaving Italy in pandemonium. The army can no longer tell who the enemy is and who is on their side. The story becomes a tragedy for the soldiers, who are left to their own defenses, but also and especially for the civilians of Istria, Fiume, Giulia and Dalmatia, who now must face a new adversary: Tito's partisans, steadily advancing and driven by anti-Italian rage. In this dramatic historical context, Norma Cossetto emerges as a key figure - a young Istrian woman, student of the University of Padua, barbarically raped and murdered by Tito's partisans - chosen for this brutal crime only because she was guilty of being Italian.

Three young people - Roy, Linda and José - who become pirates because they end up involved in the drug traffic. Out of need and greed, they find themselves caught up in something much bigger than them. It all begins as a joke but gradually becomes a cruel and dangerous game all the way to the final catharsis. The three main characters, Roy, his sister Linda and her boyfriend José, start out as avengers but turn into merciless criminals in an endless series of holdups and brutal acts of violence.

This is a series of 6 episodes on the European Middle Ages. Each documentary deals with a different subject and develops from a philological reconstruction and a general historical framework to go into detail and focus on the protagonists, the places, the events, the customs, always trying to provide new and exciting details and anecdotes , thanks to the involvement of experts and historians of international renown (such as Franco Cardini, Duccio Balestracci, Aldo Settia) who are responsible for focusing on and analyzing the subject matter. Fiction makes the story more alive than ever and drags the spectator into an enchanted atmosphere of banquets, investiture, horseback riding, but also ceremonies, trades and everyday life. Betting: 1) Lights and Shadows: Faith, Science and Magic. 2) By the way: cities, merchants and artisans. 3) Mater Land: Villages, Rites and Tradition. 4) Value And Amor Cortese: tournaments, knights and ladies. 5) Oppidum Repugnat: castles, sieges and contests. 6) Medieval man: thought, culture and fear.

A not very talented Albanian barber in Italy has a huge imagination.

At 10:39 PM of October 9, 1963, a landslide of 250 million cubic meters of land is detached from Mount Toc and falls into the artificial reservoir created by the Vajont dam, located in the northern mountains of the Veneto region (Italy). The landslide raises a hundred-meter-long wave that crosses the dam and within a few minutes falls on the Longarone village, at the foot of the dam. The country is completely destroyed. Nearly 2000 people in a few seconds pass from sleep to death. The film-documentary proposes, almost 50 years after the tragedy, one of the most serious European catastrophes since the post-war period to date. Within the documentary, different and significant are the testimonies of the protagonists of that dramatic event, which has destroyed entire countries and villages. The basis of the film is the extraordinary repertoire material, mostly unpublished. Also, inside the documentary, there is a touching testimony of Giampaolo Pansa, then sent to the Press.

The "Alida" documentary tells the life and career of the great Italian actress Alida Valli, through her private writings, letters and diaries, family films, important testimonials and much of the material never seen before.

There is a story that few know, that of the relationship between the Republic of Venice and its land possessions. It is above all the need to stock up on timber that pushed the Serenissima to expand inland in the sixteenth and seventeenth centuries. And it is the great challenge with the Ottoman Empire for supremacy over the Mediterranean that feeds this need. In the Venetian, Friulian and Istrian woods, Venice could in fact find the best wood, the essential raw material to build the warships it needed in view of a decisive battle with the Turks, which took place in 1571 in the famous Battle of Lepanto. To preserve its precious woods, Venice implements a series of good land management practices, also giving way to a profound change of mentality. Safeguarding the territory becomes a real watchword, with an approach that seems to approach our current environmental sensitivity. "The gold of Venice" is the story of this adventure and how those practices and that mentality have reached today.

"Vajont, an Italian tragedy" considers the political implications of the story, the role of the Italian state, the shadows of some of its officials, but also the positive action of the administrations in the plan for the revival of the valley of Piave, to date one of the productive areas more developed than Veneto. The reading of the letters of the protagonists of the era, the reconsideration of the technical expertise, accompanied by images of great spectacularity, which in many cases came from a flying drone on the Vajont, give the work a singular visual power.

Ernest Hemingway is an almost mythical figure. In addition to being an author, he is literary work himself - a real rock star ante litteram. Much of his life has been an eternal holiday, minutely documented and continues to be a source of inspiration for himself. Wherever there are places that share their quotes: true or presumed. The pictures that portray him are thousands. Hemingway had built a fame as a captain of ventura, expressing a strong personality, man and myth, joining the life lived in the imagination of his characters. It is in this context that his many trips to Italy are included. From the First World War to the advent of Fascism, from the Second World War to the Boom Years: both male and female acquaintances, relationships with food and wine, landscapes, loves, pleasures and tragedies of life, especially in Veneto, were fundamental to the writer. Finding how Hemingway was a forerunner of the modern public figure, we will also see how he eventually found himself victim to the icon that was sewn on him. Finding its strange and private sides between the mountains and the lagoons of a territory that he loved to the end, makes the silence more silent on the fragility of this hard.

We are in 1866, in the days preceding the October 22 referendum, which, in fact, will sanction the annexation of the Veneto to the Kingdom of Italy. Through the vicissitudes of two Venetian families, the Biasin, who for generations produce and trade wine all over Europe, and the Querini, aristocrats in decadence, want to narrate in an overwhelming tone the period between the fall of Venice and its annexation to Italy . There will be loving conflicts, revelations and interlacing.

Starting from this maxim of Hemingway, the film is depicted through the metaphorical figure of a child accompanying us on a journey to discover the places and events lived by the American writer in Italy, paying particular attention to the two macro-periods in Veneto: the first, in 1918, where the writer is along the Piave front as a volunteer of the American Red Cross; the second, in 1948, when he returned to Veneto to savor the beautiful Venetian life and cultivate his hobby for hunting and nature. The passage from the cinematic part (with accurate reconstructions of the sets in the original places) to the documentary (rich in archive images, even unpublished) is always tended to favor in the viewer the perception of a product in which the two parts are perfectly amalgamated dosed among themselves.

Isla Margarita, Venezuela. Enzo G. Castellari, famous B-movie director, has a big towel knotted around his neck. He is waiting for the barber, who will be there shortly. A star like him would not be satisfied with a normal barber, though; the director of "Keoma" and "The big racket" needs somebody important. So, here is Pino Ferranti, Lucio Fulci's favourite make-up artist, equipped with scissors and comb. Castellari talks about films, his style and overall about the slow motion technique: he explains why he likes it so much, when he discovered it and who, in the Seventh Art, are his models. He talks about how to make a good slow motion, how many frames are needed, how to edit it. In the meantime, we see him on the set of his last film, "Caribbean Basterds": he is preparing the shots, directing the actors, checking the costumes. Nevertheless, it is not a making of, as the title could suggest. In some parts it is a documentary, in some others a film in the film: there are, in fact, pure fiction scenes. Sometimes you suspect that "Caribbean Basterds" does not exist, that it is all an act, a mise en scène: like when the troupe, suddenly, is caught in a storm.

Between 1943 and 1954, 350,000 Italians had to abandon their native land in the provinces - then Italian - of Pula, Rijeka and Zara, to escape the persecution and the process of streamlining those territories by the Yugoslav regime established by Marshal Tito. It was a true "ethnic cleansing", carried out with a series of massacres of civilians and military personnel (many thrown into the foibe), started in Istria and Dalmatia in 1943 after the armistice of September 8 and completed in May 1945 in then, when the troops of the former Yugoslavia invaded all Venice Giulia then to Udine. This story, made up of horrors, sacrifices and heroisms of simple people, torn from the most memorable memories of places inhabited for centuries by Italian populations, has for fifty years been totally forgotten and concealed for generations and the public opinion of the country . This is a series of two episodes in which those events are rebuilt with authentic cinematic footage, with precious repertoire footage and with the help of over 100 testimonies of high emotion, of men and women who have experienced those dramatic events. The documentary also uses the authoritative contribution of Paolo Mieli and Gianni Oliva.

Between 1943 and 1954, 350,000 Italians had to abandon their native land in the provinces - then Italian - of Pula, Rijeka and Zara, to escape the persecution and the process of streamlining those territories by the Yugoslav regime established by Marshal Tito. It was a true "ethnic cleansing", carried out with a series of massacres of civilians and military personnel (many thrown into the foibe), started in Istria and Dalmatia in 1943 after the armistice of September 8 and completed in May 1945 in then, when the troops of the former Yugoslavia invaded all Venice Giulia then to Udine. This story, made up of horrors, sacrifices and heroisms of simple people, torn from the most memorable memories of places inhabited for centuries by Italian populations, has for fifty years been totally forgotten and concealed for generations and the public opinion of the country . This is a series of two episodes in which those events are rebuilt with authentic cinematic footage, with precious repertoire footage and with the help of over 100 testimonies of high emotion, of men and women who have experienced those dramatic events. The documentary also uses the authoritative contribution of Paolo Mieli and Gianni Oliva.

Docu-film on the great Renaissance painter "Giorgione", in which two paths are woven along a harmonious narrative line: next to the cinematic and 'fiction' story (about 40 minutes) - with spectacular historical reconstructions and actors that stage stories and characters of the time - more typical documentary studies (about 12 mins) are made using the contributions of internationally renowned scholars (with interviews with Lionello Puppi, Enrico Dal Pozzolo, Jaynie Anderson and Peter Humfrey), institutional shootings, still -life. In October 1510, Taddeo Albano, Venetian merchant and trusted collaborator of Isabella d'Este, Duchess of Mantua, received from her the task of locating and buying Giorgione's "Nocte" for his private collection. Thus begins the journey of Taddeo in search of the work of the elusive painter, a journey that will bring him in touch with characters and contexts related to the artist: from Castelfranco to Asolo, from private clients to the Venetian intellectual circles that he attended, from his painters (Titian , Chain) at the festivals of Calza's companies, Taddeo guides us through the stages of Giorgione's life while at the same time giving us the atmospheres of his paintings.