Federico Carretti

In 1980s Naples, Italy, an awkward Italian teen struggling to find his place experiences heartbreak and liberation after he's inadvertently saved from a freak accident by football legend Diego Maradona.

In the mountains of Northern Albania, a young man seeks revenge for his father's death. The murderer has disappeared a few months ago and the police is still looking for him. The young man kidnaps the killer's only son and raises him up until he reaches his 16th birthday, when according to the Kanun, the Albanian law of revenge, a child becomes a man and he is allowed to kill or to be killed.

アイアンマンことトニー・スタークが完成させた人工知能“ウルトロン”の暴走に端を発する、ヒーローたちによる愛する者たちを救うための戦いをダイナミックに描く。人類の危機的状況を何度も打破してきたアイアンマンことトニー・スタークは、平和維持システムとしての人工知能“ウルトロン”を誕生させる。人類を脅威から守るために完成させたウルトロンであったが、平和を脅かす唯一の存在は人類だと結論付け、抹消しようとする。監督は、前作でもメガホンを取ったジョス・ウェドン。

It's 1348. The plague has brutally hit Florence. A group of then young people, seven women and three men, rebel against the feeling of death that is about to swallow them. They flee the city and find refuge in an abandoned villa in the Tuscan hills. Here, between moral doubts and the tasks needed to survive, they kill time by telling each other stories until they will decide to return. The stories are varied - tragic, bizarre, funny or erotic - but common and central to all of them is the female presence.

We are with Pasolini during the last hours of his life, as he talks with his beloved family and friends, writes, gives a brutally honest interview, shares a meal with Ninetto Davoli, and cruises for the roughest rough trade in his gun-metal gray Alfa Romeo. Over the course of the action, Pasolini’s life and his art (represented by scenes from his films, his novel-in-progress Petrolio, and his projected film Porno-Teo-Kolossal) are constantly refracted and intermingled to the point where they become one.

We are with Pasolini during the last hours of his life, as he talks with his beloved family and friends, writes, gives a brutally honest interview, shares a meal with Ninetto Davoli, and cruises for the roughest rough trade in his gun-metal gray Alfa Romeo. Over the course of the action, Pasolini’s life and his art (represented by scenes from his films, his novel-in-progress Petrolio, and his projected film Porno-Teo-Kolossal) are constantly refracted and intermingled to the point where they become one.

During World War II, looking up the Mountain, in Italy, a Brazilian Expeditionary Force - FEB - mines weeping platoon is hit by a panic-attack that sets them running aimlessly right in the middle of 'no man's land'. Desperate cold and hungry, the ill-prepared soldiers have to choose between facing military court or delve deeper into enemy lines. After a tense discussion, they decide to save their faces with the Brazilian Army by tackling a daring military objective: to disarm the most feared minefield in Italy. On their way there, they end meeting two others deserters; a remorseful Italian soldier trying to join the Partigianos and German officer who is just simply tired of war. with unexpected help of their ex-enemy, the soldiers are set to accomplish a mission that so far had been deemed impossible.

舞台はマヤ文明の栄える中央アメリカの密林地帯。平穏な生活を営む狩猟民族の集落を、マヤ帝国の傭兵部隊が襲撃する。そして拉致連行された村民たちを待っていたのは、見たことのないような先進的な文明を持つマヤの都だった。そして彼らは、何故自分たちがここに連れてこられたのか、《衝撃の真実》を目の当たりにすることになる･･･！セリフは全編マヤ語を用い、キャストも映画未経験の現地人を採用するなど、徹底的にリアリティを追求。また、今なお謎の多いマヤ文明の都市や風俗、そして想像を絶する残酷な祭祀の一部始終を、徹底した調査を元に造営された巨大な都市のセットと最新のＣＧ技術を駆使し見事に再現。その圧倒的スケールの映像世界は全米の批評家たちにも絶賛され、アカデミー賞、ゴールデン・グローブ賞などで数々のノミネーションを獲得した。そして、縦横無尽にジャングルを駆け巡り繰り広げられる迫真のサバイバル・アクション・シーンは、息をも付かせぬスピード感と臨場感で観る者の心拍数を極限まで上昇させる！