Gianluca Matarrese

At one of Paris’s top lycées, a group of students and their French teacher are organizing an eloquence competition.

At one of Paris’s top lycées, a group of students and their French teacher are organizing an eloquence competition.

Anne, director, adapts L’Assommoir by Emile Zola in which she plays the role of Gervaise. The story echoes her life. Through the mise en abyme, the film challenges this troubling border where fiction merges with reality, where life merges with art. A naturalistic approach that questions intimacy, drama, passion, work and love, and seeks to shed light on the most vibrant, timeless and universal aspects of life.

Anne, director, adapts L’Assommoir by Emile Zola in which she plays the role of Gervaise. The story echoes her life. Through the mise en abyme, the film challenges this troubling border where fiction merges with reality, where life merges with art. A naturalistic approach that questions intimacy, drama, passion, work and love, and seeks to shed light on the most vibrant, timeless and universal aspects of life.

Growing up silently Queer, within a broken family, Kurtis faced abuse, trauma and addiction. As an escape, he discovered Beauty within his rural upbringing. Eventually unveiling places beyond his wildest dreams he created his alter-ego, Miss Fame, becoming one of the World’s most iconic supermodel drag. A hypnosis session takes us on Kurtis/Miss Fame’s journey into their mind, exploring their salvatory yet torturous relationship to Pain and Beauty.

Every month, hundreds of unemployed nurses travel from the south to the north of Italy in search of work. Two of them organise the trips by overnight buses; a long journey of hope that often leads to nothing at all. Shot as a road movie, the two filmmakers paint a pitiless portrait of modern Italy before, during and after the health crisis.

This is the tale of three artists who navigate the fashion world: from the front rows at shows to their tiny hotel rooms, constantly on the move, they struggle to thrive in social media culture in a decaying world which is now forced to reinvent itself.

Bernard just retired. He is 63 years old. He lives alone with his two cats and decides to move in the house where he will live the last chapter of the book of his life. While packing, he starts to have to choose what to take with him. Bernard is my master and I am his slave. His last lover. I help him put away his whip in a box, between the remains of his memory, tokens of lovers stripped from his arms by AIDS, traces of a foster family that pushed him away, of a rigid education that marked him, of a mother and a father that he never met. Our sexual games are the possibility for two generations to meet: between a whip and a leather harness we discuss love, death, the AIDS epidemic of the 80s, his new life project, us. The wounds and the grave goods of a survivor, a cry of life under the lights of sexual pulsions.

Bernard just retired. He is 63 years old. He lives alone with his two cats and decides to move in the house where he will live the last chapter of the book of his life. While packing, he starts to have to choose what to take with him. Bernard is my master and I am his slave. His last lover. I help him put away his whip in a box, between the remains of his memory, tokens of lovers stripped from his arms by AIDS, traces of a foster family that pushed him away, of a rigid education that marked him, of a mother and a father that he never met. Our sexual games are the possibility for two generations to meet: between a whip and a leather harness we discuss love, death, the AIDS epidemic of the 80s, his new life project, us. The wounds and the grave goods of a survivor, a cry of life under the lights of sexual pulsions.

Bernard just retired. He is 63 years old. He lives alone with his two cats and decides to move in the house where he will live the last chapter of the book of his life. While packing, he starts to have to choose what to take with him. Bernard is my master and I am his slave. His last lover. I help him put away his whip in a box, between the remains of his memory, tokens of lovers stripped from his arms by AIDS, traces of a foster family that pushed him away, of a rigid education that marked him, of a mother and a father that he never met. Our sexual games are the possibility for two generations to meet: between a whip and a leather harness we discuss love, death, the AIDS epidemic of the 80s, his new life project, us. The wounds and the grave goods of a survivor, a cry of life under the lights of sexual pulsions.

Bernard just retired. He is 63 years old. He lives alone with his two cats and decides to move in the house where he will live the last chapter of the book of his life. While packing, he starts to have to choose what to take with him. Bernard is my master and I am his slave. His last lover. I help him put away his whip in a box, between the remains of his memory, tokens of lovers stripped from his arms by AIDS, traces of a foster family that pushed him away, of a rigid education that marked him, of a mother and a father that he never met. Our sexual games are the possibility for two generations to meet: between a whip and a leather harness we discuss love, death, the AIDS epidemic of the 80s, his new life project, us. The wounds and the grave goods of a survivor, a cry of life under the lights of sexual pulsions.

Footwear company Togo was a family business that thrived reaching the point of owning more than 30 stores in the wider Turin area. All that is left today is a couple of struggling stores, enormous suffocating debt, and the desperation of uncertainty as bankruptcy is looming in. Director Gianluca Mattarese has been living in Paris for the last 18 years meticulously fencing himself off from the harsh reality of a family breakdown. Like a prodigal son, he eventually returns to his roots with the task of recording a routine of malaise framed by financial collapse. A bittersweet tale of family bonds, reuniting, and atonement.

Footwear company Togo was a family business that thrived reaching the point of owning more than 30 stores in the wider Turin area. All that is left today is a couple of struggling stores, enormous suffocating debt, and the desperation of uncertainty as bankruptcy is looming in. Director Gianluca Mattarese has been living in Paris for the last 18 years meticulously fencing himself off from the harsh reality of a family breakdown. Like a prodigal son, he eventually returns to his roots with the task of recording a routine of malaise framed by financial collapse. A bittersweet tale of family bonds, reuniting, and atonement.

Footwear company Togo was a family business that thrived reaching the point of owning more than 30 stores in the wider Turin area. All that is left today is a couple of struggling stores, enormous suffocating debt, and the desperation of uncertainty as bankruptcy is looming in. Director Gianluca Mattarese has been living in Paris for the last 18 years meticulously fencing himself off from the harsh reality of a family breakdown. Like a prodigal son, he eventually returns to his roots with the task of recording a routine of malaise framed by financial collapse. A bittersweet tale of family bonds, reuniting, and atonement.

У Максима есть все, чтобы быть счастливым: он возглавляет крупную фирму по продаже дорогих автомобилей, женат на очаровательной молодой девушке и живет на удобной вилле. Все идиллия заканчивается со смертью его компаньона, которого убили преступники. Разумно осознавая, что следующий на очереди он, Максим зовет на помощь своих братьев. Однако их вмешательство превращает дело в полное фиаско, и положение Максима становится все более запутанным и опасным…