Tutti gli articoli di Gaia Buonsanti

“LA MISTERIOSA MIRADA DEL FLAMENCO” BY DIEGO CÉSPEDES (ENG)

Article by Ludovico Franco

Translation by Patrick Zaffalon

In 1982, a mysterious disease strikes the inhabitants of a remote Chilean village. The “plague”, as they call it, seems to stem from one of human beings’ primal impulses: the scopic drive. This killer gaze is not that of some petrifying Gorgon, nor that of the mechanical eye of a cinematographer who’s filming, trying to capture death. The deadly mirada (“gaze” in Spanish) is that of a Medusa whose snakes are replaced with eccentric jewelry and colorful sequins.

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“QUASI GRAZIA” BY PETER MARCIAS (ENG)

Article by Elisabetta Pala

Translation by Valeria Marconi

Presented at the 43rd TFF in the “Zibaldone” section, Peter Marcias’ Quasi Grazia is a film adaptation of the homonym theatrical novel written by Marcello Fois and played by Michela Murgia. It was made in order to investigate the person beyond the writer, starting from the title itself which took inspiration from Cosima, Quasi Grazia, the posthumous autobiography by Grazia Deledda. The figure of the author, narrated through three previously unknown moments of her life, is brought to the screen thanks to the performance of Irene Maiorino, Laura Morante and Ivana Monti.

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“MOTHERS” BY ALICE TOMASSINI (ENG)

Article by Francesco Soprana

Translated by Luca Perrone

A group of Cambodian women describes the joys and struggles of being mothers. Three Italian women talk about the difficulties they faced in having children and the path they chose to follow in order to build a family. Lia, a girl from Rome, recounts her daily challenges, both big and small, and reflects on what it means to be a daughter. All these stories, ordinary and extraordinary at the same time, have something in common: surrogacy.

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“PILLION” BY HARRY LIGHTON (ENG)

Article by Francesco Soprana 

Translation by Alessandra Di Paola Seminara 

“Have you ever been with a biker?” With this teasing question begins the erotic and emotional odyssey of Colin (Harry Melling) in Harry Lighton’s feature debut, a film that delves into the intricate universe of dominant-submissive relationships. Winner of the Screenplay Prize in the Un Certain Regard section at Cannes, Pillion is presented in the Out of Competition category at the 43rd TFF.

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“QUE MA VOLONTÉ SOIT FAITE” BY JULIA KOWALSKI (ENG)

Article by Beatrice Bertino

Translation by Virginia Milazzo

Julia Kowalski presents her second feature film, Que ma volonté soit faite, in Turin, which had already been selected for the Quinzaine des Cinéastes (Directors’ Fortnight) in Cannes. The director tells a dark-toned tale, completely immersed in the French rural areas, where a family of Polish immigrants – just like her parents – runs a cattle farm. An obscure sequence of events unfolds between cowsheds and farmland, firmly bound to faith and sin, redemption and damnation.

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“THE TEACHER” BY FARAH NABULSI (ENG)

Article by Sveva Keiko Abbatantuono

Translation by Carlotta Anna Antonacci

The death of a brother, son, or friend is one of the worst tragedies a human being can experience. But how much time is left for individual mourning when an entire country is falling apart under the siege of settlers?  

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“TODAS LAS FUERZAS” BY LUCIANA PIANTANIDA (ENG)

Article by Marta Mastrocinque

Translated by Maria Iacovone

Todas las fuerzas, directed by Luciana Piantanida, proposes an analysis of the Latin American migrants’ situation in Buenos Aires through a controlled use of fantasy. Set in district Once, the movie combines social observation and more visionary narrative constructions, without fully adhering to the rules of a single genre.

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 “SLANTED” BY AMY WANG (ENG)

Article by Elisabetta Pala

Translation by Chiara Ventura

«How great is it to be white?». It is Joan Huang the one who has to answer this question in Slanted, presented at the 43rd TFF. Once she moved with her parents to the south of the USA, Joan began to be bullied for her Chinese origins until she became a teenager and decided to undergo plastic surgery to obtain the appearance of a young Caucasian girl.

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“THE BIRTHDAY PARTY” BY MIGUEL ÁNGEL JIMÉNEZ (ENG)

Article by Dina Aghaei

Translated by Giorgia Cattaneo

To mark his daughter Sofia’s twenty-fifth birthday (Vic Carmen Sonne) –now his sole heir after the death of his son– Marcos Timoleon (Willem Dafoe), a wealthy Greek shipowner, hosts an elaborate celebration on his private island. A party that seems to be choreographed down to the last detail. But things don’t unfold quite according to his script.

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“BILLY KNIGHT” BY ALEC GRIFFEN ROTH (ENG)

Article by Niccolò Bedino

Translation by Valeria Marconi

Hollywood promises you the world. However, after stealing your soul, it often gives you only a pale reflection of what you were looking for in return. Billy Knight, Alec Griffen Roth’s  debut film is a love letter to cinema, a tale which is halfway between reality and imagination. This is the journey of a young artist who is trying to understand if cinema can save him or if it is only a sweet illusion.

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“IL PROTAGONISTA” BY FABRIZIO BENVENUTO (ENG)

Article by Sveva Keiko Abbatantuono

Translated by Luca Perrone

With Il protagonista (2025), Fabrizio Benvenuto delivers a debut that stands out for its connection to the Italian tradition and, at the same time, for its desire to find its own voice, guided by a bold drive to experiment with the audiovisual medium.

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“MAGELLAN” BY LAV DIAZ (ENG)

Article by: Ludovico Franco

Translated by: Alessandra Di Paola Seminara 

Just like Magellan (Gael García Bernal), who keeps veering off course as he crosses the oceans, Lav Diaz probes new stylistic perspectives for his cinema: with Albert Serra as producer, Diaz shoots for the first time in a language other than Tagalog and adopts color. He brings the violence of colonialism back to its archaic roots, reinterpreting the figure of the explorer and the myth of the Age of “Discoveries.”

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“AILLEURS LA NUIT” BY MARIANNE MÉTIVIER (ENG)

Article by: Alessandra Sottini

Translation by: Carlotta Anna Antonacci

In Ailleurs la Nuit, presence and absence are two faces of a coin: among personal doubts, fleeting encounters and secret bonds, the lives of six characters echo into one another. Although the drama of this dichotomy springs from its paradoxical representation in Pirandello’s work, in Ailleurs la Nuit it is incommunicability and silence that make it noticeable.

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