Antwon Tanner

Simone Simmons

Debra Slater

Bibin Shrestha

A group of girls from the hood commit a robbery that has their lives spinning out of control.

Divided We Fall

Divided We Fall (2021)

Romy Schneider

Dany Jacquet

Simone Bach

Suzy Hannier

Marina and her boyfriend have an argument while on a trip in France. While driving with the car among the cliffs, he starts speeding and the car falls into the sea. Marina can jump out of the car, but her boyfriend seems to be drowned. She gets to know his brother and he falls in love with her. But why does she always feel watched? What reasons are behind her strange behaviour anyway? Did she really murder her boyfriend? But is he dead anyway?—liderc

The Sensuous Assassin

The Sensuous Assassin (1970)

Orlando Bloom

Ulka Simone Mohanty

Cynthia Erivo

Kaja Jean

If love is in the form of a circle, what lines would you cross to be with your soulmate? In this gripping, near-future love story directed by Oscar® winner John Ridley, Nick and Janine (Oscar® nominees Leslie Odom, Jr. and Cynthia Erivo) live in marital bliss, until Janine's ex-husband (Orlando Bloom) warps time to try to tear them apart using Nick's college girlfriend (Frieda Pinto). As Nick's memories and reality disappear, he must decide what he's willing to sacrifice in order to hold onto - or let go of - everything he loves. Can love endure in a future where time is fluid, and all of life may be just an illusion?—Lionsgate

Needle in a Timestack

Needle in a Timestack (2021)

Carey Loftin

Clayton Moore

John De Simone

Dick Crockett

A strange craft spying on industrialist Bryant's plant is brought down by Bryant's new atomic ray. Bryant meets the one survivor... Mota from the planet Mars! Not exactly benevolent, Mota enlists the aid of Bryant (a former Nazi) in a scheme to bring Earth under control of a supreme dictator, for its own good of course, using advanced atomic weapons. But their attempts to steal uranium alert Kent Fowler of Fowler Air Patrol, who sets out singlehanded to foil the villains. Fist-fights and wrecks in every episode.—Rod Crawford

Flying Disc Man from Mars

Flying Disc Man from Mars (1950)

Simone Signoret

Simone Simon

Anton Walbrook

Charles Vissières

An all-knowing interlocutor guides us through a series of affairs in Vienna, 1900. A soldier meets an eager young lady of the evening. Later he has an affair with a young lady, who becomes a maid and does similarly with the young man of the house. The young man seduces a married woman. On and on, spinning on the gay carousel of life.—Ed Sutton

La Ronde

La Ronde (1950)

Peter Ustinov

René Hell

Three stories about pleasure. The first one is about a man hiding his age behind a mask to keep going to balls and fancying women, pleasure and youth. Then comes the long tale of Julia Tellier (Madeleine Renaud) taking her girls (whores) to the country for attending her niece's communion, pleasure and purity. And lastly, Jean (Daniel Gélin) the painter falling in love with his model, pleasure and death.—Yepok

Le Plaisir

Le Plaisir (1952)

Jeanine Mason

Alexis Rosinsky

Michael Grant Terry

Kyanna Simone

Lauren Pierce has just become the high-school Tri-State Archery Champion. After the competition, Lauren and her teammate Emily return to their hotel room for a night of irresponsible celebratory drinking that grows into more. When interrupted by Emily's abusive boyfriend, Lauren snaps and brutally beats Daniel. Lauren is then sentenced to a girls' reform camp Paradise Ridge, nestled in the mountains of California. But this "reform camp" turns out to be a corrupt and twisted prison that breaks young girls and keeps parents in the dark. With the help of Rebecca, a strong and provocative young woman whom Lauren befriends, the two escape the unsafe facility and fight for their lives out in the Utah wilderness; a journey of growth, acceptance and resilience of what they believe is right.

The Archer

The Archer (2016)

Michel Piccoli

Michèle Girardon

Alicia del Lago

In a village in Latin America, diamond miners are at war with the government, which wants to expropriate the owners of the mines. As the riots intensify, the loner Shark flees with the prostitute Djin, Father Lizardi, the old Castin and his young daughter Maria. The ragtag group gets lost in the depths of the jungle..—Arte

Death in the Garden

Death in the Garden (1956)

Costa-Gavras

Elio Bencoil

Michal Bat-Adam

Madame Rosa lives in a sixth-floor walkup in the Pigalle. She's a retired prostitute, Jewish and an Auschwitz survivor, a foster mom to other prostitutes' children. Momo is the oldest and her favorite, an Algerian lad whom she raises as a Muslim. When he asks about his parents, she evades. As she ages and takes in fewer children, Momo must do more for her; as money is tight, he tries to earn pennies on the street with a puppet. He's a beautiful man-child and Madame Rosa makes him promise that he will never sell himself or become a pimp. Nadine, a film editor, befriends him, and his father suddenly appears. Madame Rosa reaches her last days in fear of hospitals, and Momo must act.—

Madame Rosa

Madame Rosa (1977)

Alain Delon

Boby Lapointe

Jean Tissier

Her youth has been spent working for a farm family, being raped by a father and son, and marrying the son, who has now left her a happy widow. She is happy because World War I is over and she is enjoying being in control of the farm. Then she hires the handsome stranger who helped her carry the new incubator for chicks from the bus and across the canal. In the house by the canal with the job of raising and lowering the bridge for passing boats lives the widow's envious sister-in-law with husband and nubile daughter.—Dale O'Connor

The Widow Couderc

The Widow Couderc (1971)

Anita Farmer Bergman

Simone Grossman

Erin Minervini

Alfonse Mora

After suffering a mental breakdown, Eddy moves into his grandmother's trailer with his cousin, Bridget. He spends his time idling about their small Indiana town with Bridget and her friend, Carly, but unwinds when he suspects his cousin's teacher of planning a murder. In a paranoia-fueled attempt to protect Carly, Eddy gets stranded out on a lake and is forced to confront both the teacher and his own demons.

Steuben County

Steuben County (2020)

Valentina Bellè

Theo Somolu

Advin Ziwar

Simone Colombari

Biographical film about Italian footballer Roberto Baggio, a man who inspired entire generations to play football. A unique footballer, capable of thrilling fans all over the world.

Baggio: The Divine Ponytail

Baggio: The Divine Ponytail (2021)

Simone-Élise Girard

Isabelle Mejias

David Hewlett

Raoul Trujillo

Good and evil scanners combatting when a crooked politician schemes to gain control of a major city. Scanners are people who, because their mothers had taken a certain drug during pregnancy, have acquired telepathic powers. One scanner escapes from a mental center and is hired by the politician to use his powers to gain control of others minds, and then, their actions.—Ørnås

Scanners II: The New Order

Scanners II: The New Order (1991)

Terence Hill

Walter Pidgeon

Jean-Paul Belmondo

Two jerks are enlisted in the Italian army during W.W.1 and by pure luck manage to help win an important battle.

The Shortest Day

The Shortest Day (1963)

Simone Gandolfo

Alberto Basaluzzo

Giovanna Mezzogiorno

Andrea Bonella

A documentary-fiction that reconstructs the complex procedural path followed by the 1969 massacre through the point of view of Francesca Dendena, daughter of one of the victims and President of the Family Association of the victims of the Piazza Fontana massacre.

Io ricordo. Piazza Fontana

Io ricordo. Piazza Fontana (2019)

Simone Tacconi

Consuelo Locati

Diego Polimeno

Nicole Locatelli

Labyrinthus
"THE WAY OF NON-BEING
Deductions
1) This is a film that was born and developed in the spirit and in the perspective of not paying duty to any genre, understood as a cliché, but we can say that recognizing in its plot a sort of sacrificial plant could approach (derivatively) the classic genre of tragedy (Euripides in particular, which shares a certain impiety, in addition to the marked philosophical warping). Closer to home, because of its sacrificial (tragic) structure, I would liken it as a "genre" to "The Seventh Seal" or "Meet Joe Black", in which death is, respectively, externalized and internalized, but still acts with the aim of obtaining the sacrifice due to it.
2) In our intentions it would be the first step of a dialectical trilogy (that's what I think we'll call it in the end), through which we represent the external life/death splitting. This would be followed by the inner splitting ("we are and we are not what we were before"), set in the era of COVID, and finally by a kermis in four distinct episodes (two realistic and two surreal), coagulated around the idea of a spectator unaware of the fact that he is, himself, an element of the "show" he is witnessing, and this last step would be understood as that of reunification, determined by a sort of aesthetic self-motion (the three films, precisely).
3) The film opens with a passage from Parmedides (from the "Poem on Nature"), and this is the source of its title. In our intentions, the film is also an open disavowal of Parmenides himself, in the sense that non-being (death, appearance) can at least be represented by drawing on an internal apperception. The sentence pronounced at the end of Riccardo's character (" If the living and the dead could meet, no one would believe in the existence of God") is not to be understood as a trivial hypothesis of denial of God himself (who can affirm or deny with certainty the existence? ) but it is nothing more than the transposition, in synthesis, of the synesthesia proposed by the film: that is, the contextual perception of life and death interacting with each other; and therefore should be understood in the sense that, if we admit to perceive and share a synesthetic reality (made of real plus unreal) it would no longer make sense to search for a unity external to thought.
4) The "Way of non-being" is the beginning of simultaneous perception (life/death, reality/appearance) or the synaesthetic way. It is also the way of critical consciousness that came out of Kantian irremediable dualism and landed in Hegel. On this path, it is possible to draw knowledge. On the other hand, understood in its aspect of "visual art", the film exhibits that imponderable which, not by chance, in impressionistic painting was externalized by light (the material source of cinema itself) and is now drawn within and represented as a gap in consciousness.
5) The structure of the film is at the same time a labyrinth and a red thread to get out of it (synesthesia also in this). The unknown of the sense is the enigma to be unveiled (the minotuar to be killed) and the labyrinthine structure is the result of a montage remade four times, always in a different way until the final one; the montage itself is the solution of the enigma, as a sort of its dialectical solution. In order to better understand it, we can compare the film to other works such as "The Cube" or "Saw-The Riddler", in which the labyrinth is all externalized, and the solution of the enigma is entrusted to the characters (most of whom succumb), with the difference that we have overturned exactly those scenic devices: the labyrinth is all interior, perceptive, or rather it is in the sole perception of the spectator or of the addressee, and not of the characters, because it is the spectator who is dispersed in rivulets and accesses that include images, dialogues and memories, all included in that ball that, as the narration proceeds, unravels little by little until the final solution, and the characters simply undergo that inexorable (tragic) unfolding. In other words: the film is a labyrinth that places at its center an enigma, its "minotaur", and the enigma is revealed as the ball of memory is unraveled. The title of the film was in fact "The final color of the soul", intended as the memory (the final color) that remains in the dead (hence the final reading of the passage from Plato's "Republic", and more precisely from the account of the myth of Er) but which is then diluted by drinking the water of the river Amelete to erase it and reincarnate. The editing of our film is the unraveling of that ball of yarn and thus resolves the labyrinthine enigma, that is, it erects the sense of the story, which is a search for the sense of death.

Labyrinthus: The Way of Not Being

Labyrinthus: The Way of Not Being (2021)

Florence Haguenauer

Renate Birgo

Annie Cordy

In 1971 Courbevoie (France), former typographist Julien Bouin and his wife Clemence, who used to perform in a circus, hardly talk to each other in their small house, which is soon to be demolished. To Clemence's anger, Julien's cat Greffier is the only one who gets his attention, let alone love.—Vincent Merlaud

Le Chat

Le Chat (1971)

Misty

Simone

Sonja

Vicky

Produced in 1967, this amazing 22-minute short film introduces us to Misty, Vicky, Sonja, and Simone--four transwomen who are subjected to a six-month psychological project, then grilled about their personal lives by a weird guy in a wood-paneled office who claims to have interviewed "thousands of homosexuals" (and who obviously doesn't understand the difference between sexual orientation and gender identity). This unique exploitation documentary offers a rare, provocative glimpse into pre-Stonewall queer life as it follows the women through their daily lives with a stop to look into a New York City drag ball. They talk about their double lives of going out as women at night but living as men during the day, and about how they take hormones and dream of "going for a change." One talks about avoiding the draft, another about her fiancé, and another about the torment of childhood as an effeminate youth.—Jenni Olson

Queens at Heart

Queens at Heart (1967)

T'Nia Miller

Karla-Simone Spence

Jo Martin

Premila Puri

Marcie and Mickey Haines are 16-year-old athletic twins. They're inseparable, leaving their mother, Leonore, feeling excluded. On the day of an important race for Marcie, Michael is hit by a car and killed. The next morning she wakes to find the house full of mourners, talking about Michael in the past tense.

Nine Nights

Nine Nights (2019)

Jamie Foxx

Angela Bassett

Rachel House

Joe is a middle-school band teacher whose life hasn't quite gone the way he expected. His true passion is jazz and he's good. But when he travels to another realm to help someone find their passion, he soon discovers what it means to have soul.

Soul

Soul (2020)

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