I Can't Save My Friends explores the unnamed, latent emotions of an unnamed protagonist and how he does his best to hide them from the person he's closest to.
As happens to Simone, who was already the protagonist 11 years ago – he was portrayed back then with the other men of the Ciliberti family in the previous film *L'albero di trasmissione* – forced to close his workshop and with it his creations made from scrap, emblems of an unproductive inventiveness, of a fragile but realized utopia. It seems, however, that living on the margins of the present, in a precariousness that is a choice and not a misfortune, is a freedom that is no longer permitted. This new work by Fabrizio Bellomo is a biographical film (about a man, a nonconformist, and his neighborhood), which is at the same time a sequel and itself a film within a film, but also and above all a reflection on the role of cinema towards its subjects and on the humanist mandate of documentary.
A young woman leaves for New York to collect the belongings of her deceased great aunt Gea Koenig, slowly growing to understand the art and meaning of preserving moments through photographs.
Following a woman's death in a post-apocalyptic world where pollution has made much of the Earth toxic, a man ventures out to fulfill her last wish: spreading her ashes on the last remaining flowers.
The documentary explores how in Argentina, football passion is inherited as an almost sacred legacy. The conflict arises when this transmission doesn't always align with individual desires: between shared passion and one's own voice in the face of a dilemma. Choosing a football team isn't an individual decision, but rather a process of family socialization where loyalty to the club is passed down from parents to children as part of the family's identity and traditions. The club isn't automatically inherited like a surname: it's negotiated, contested, and sometimes betrayed. In this tension (between tradition, choice, and rebellion), the identity of the fans is at stake.
A girl discovers a Pak Pao kite on a tree and starts playing with it. Their relationship has developed; unknowingly, the addictive toxicity starts increasing during the relationship.
An experimental documentary, in which Emma asks people when do you wish to be soft, when do you long to be rough, and when are you both at the same time? Each scene is a fantasy the subjects are invited to play inside. While interviewees’ honest answers offer glimpses into their own inner worlds and contrasting experiences. Merging both the real life and staged aspects of the film.
The child selling bandages, who is not seen by the subway passengers, sees a doll in the hands of a woman who is injured and bandages her wound in the silence and indifference of the passengers. The doll then accompanies the boy and, with the bandage on its head, recognizes the previously invisible wound.
A thin and thin person carries a heavy burden on their shoulders and walks with difficulty in the desert due to the weight of the burden. They face problems and difficulties on their path as well as the inner dimensions of the sorrows and fatigue of their life. They see sakura trees in the distance and continues on their path. After enduring many hardships, They reaches a gate with a back full of sakura trees. They are stunned by the beauty of the sakuras and the wind shakes the branches of the sakura trees. They slowly smile sadly, but in the end, despite enduring the weight of the burden and the difficulties of the path, They suddenly fall to the ground from the pressure of the burden and their bag is torn. It is full of sakura (cherry blossoms) falling out. Although They cannot pass through the gate, the wind blows some of them into the trees.
Ismail, a Palestinian director long denied the freedom to travel, finally sets out on a journey tracing the path Christ walked two thousand years ago, from Nazareth to Jerusalem, seeking stories of miracles and legends. He is surprised to find the route now crowded with refugee camps, witnessing their stories, dreams, and resilience. This cinematic journey blends history with the present, the spontaneous with the deliberate, and explores the ongoing impact of the Nakba on Palestinian life and identity.
The mother suffers from an illness that threatens to drown her memories and emotions. She pleads with her daughter for help. Using her umbilical cord, she fashions a giant straw, with which the daughter attempts to suck excess water from her mother's head through her eye, hoping to save her. In the process, the daughter herself risks drowning.
In the village of Sabucedo, Spain, the Rapa das Bestas unfolds: a raw ritual where villagers and wild horses collide in a test of strength and memory. Seven years in the making, Fillos do Vento: A RAPA places viewers inside the curro, where dust, breath and tension blur the line between tradition and extinction. A modern-day Quixote story, as wind-farms creep over the surrounding hills, the work challenges audiences to feel the fight for cultural survival in an age of rapid change. This documentary is not meant to be watched but inhabited, a sensorial call to witness what is at stake when culture, nature and modernity collide.
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