Tommaso Lusena

A train station in Sicily. There are two people in the waiting room: one is “the man with the flower in his mouth” in the film's title, who has confronted and threatened a mysterious woman outside the station. The other is “the peaceful customer,” who missed his train because of presents for the women in his family which hindered him as he ran and made him trip on the train tracks. The man with the flower in his mouth has helped the peaceful customer and immediately establishes a relationship of trust and empathy with him. The two recount their lives, but whereas the peaceful man talks about his frustrations, the man with the flower in his mouth keeps steering the conversation toward just one topic: death. Everything seems wrapped in mystery, starting with the identity of the woman outside the station...

Franco scaldati - died in 2013 - was one of the most important autors of italian theatre plays, Maresco describes his role in the cultural and social field. Through his opera we can observe Italy from another point of view.

This film tells the story of three defeats: Berlusconi’s political and human defeat in his “twilight”, the one of Ciccio Mirra, Berlusconi’s unconditional supporter, deeply rooted in an ancient culture that dies hard, and the director’s artistic defeat in an Italy that recognised itself in this “Berlusconian culture” for a long time, and probably still does.

Antoine D'Agata, Magnum photographer since 2004, is in Phnom Penh, Cambodia, where his artistic trail seems to reach an utmost point. After devoting himself to depicting desolated landscapes and borderline realities, D'Agata focuses his art on his intimate human relations. His latest work focuses on body and flesh, in a narrow room. This film catches the hidden part of his art making; his choice of living on the edge and experiencing sex with extreme vitality. It is an apocalyptic and sublime journey, similar to the ones of other heretic artists of contemporary culture, from Jack Kerouac to Antonin Artaud, from Francis Bacon to Pier Paolo Pasolini.

Antoine D'Agata, Magnum photographer since 2004, is in Phnom Penh, Cambodia, where his artistic trail seems to reach an utmost point. After devoting himself to depicting desolated landscapes and borderline realities, D'Agata focuses his art on his intimate human relations. His latest work focuses on body and flesh, in a narrow room. This film catches the hidden part of his art making; his choice of living on the edge and experiencing sex with extreme vitality. It is an apocalyptic and sublime journey, similar to the ones of other heretic artists of contemporary culture, from Jack Kerouac to Antonin Artaud, from Francis Bacon to Pier Paolo Pasolini.

Antoine D'Agata, Magnum photographer since 2004, is in Phnom Penh, Cambodia, where his artistic trail seems to reach an utmost point. After devoting himself to depicting desolated landscapes and borderline realities, D'Agata focuses his art on his intimate human relations. His latest work focuses on body and flesh, in a narrow room. This film catches the hidden part of his art making; his choice of living on the edge and experiencing sex with extreme vitality. It is an apocalyptic and sublime journey, similar to the ones of other heretic artists of contemporary culture, from Jack Kerouac to Antonin Artaud, from Francis Bacon to Pier Paolo Pasolini.

Antoine D'Agata, Magnum photographer since 2004, is in Phnom Penh, Cambodia, where his artistic trail seems to reach an utmost point. After devoting himself to depicting desolated landscapes and borderline realities, D'Agata focuses his art on his intimate human relations. His latest work focuses on body and flesh, in a narrow room. This film catches the hidden part of his art making; his choice of living on the edge and experiencing sex with extreme vitality. It is an apocalyptic and sublime journey, similar to the ones of other heretic artists of contemporary culture, from Jack Kerouac to Antonin Artaud, from Francis Bacon to Pier Paolo Pasolini.

Frequentemente, Pietro é acometido de uma estranha mistura de caos e calma. Desde a morte da sua mulher que não tem paz. Lara morreu, inesperadamente, num dia de Verão. Pietro não estava em casa, na altura. Estava na costa, a salvar a vida de uma outra mulher, uma desconhecida. A sua filha, Claudia, estuda no 5º ano. Um dia, quando está a levar a filha à escola, Pietro decide esperar por ela no carro. E continua a fazer o mesmo nos dias que se seguem. É como se estivesse a refugiar-se no carro, ali sentado, à espera da dor da solidão. Escondido no seu automóvel, começa a observar o ambiente e descobre os refúgios dos outros. Os seus patrões, colegas e familiares aparecem para reconfortá-lo. Mas a única coisa que conseguem fazer é falar-lhe da sua própria dor sem limites e fugirem da sua incompreensível calma. No entanto, Pietro começa lentamente a recuperar.