Janik and Samuel, two teenagers, have just finished high school.
They know that they have to make changes
in their lives and they are willing to do so,
but their need takes different shapes for
them due to their different family backgrounds. A journey to Istanbul becomes an opportunity to recover the balance upon which their friendship has always been based.

The story is centered on the complexity of human relationships especially during the troubled transition from adolescence to adulthood.

Anna has lost her memory but she has never forgotten how to cook. Thanks to Roula, she finds a new job and, through the contact with food and the people who eat it, she manages to retrace her past and ultimately recover her lost identity. As the director herself has underlined, cooking (alone or in the company of others) has been one of the activities that has accompanied, and in some cases even saved, people during the Covid-19 pandemic in households throughout the world. It is a simple, daily habit, but meaningful as it is in the protagonist’s life.

In a Jutland village,
Erna cherishes her dream of opening a cold cuts factory. It is the last year of the First World War and her son, who suffers from a mental disorder, is called to arms. To protect and save him from the ferocity of the war, Erna finds a way to stay by his side: she disguises herself as a soldier and enlists.
The Danish director looks at the last stages of a war of attrition from a new, female, perspective.

Pak is a taxi driver, while Hoi is a pensioner who spends most of his days at the park where they accidentally meet. where they accidentally meet. They both have in common their age (they are both in their seventies) and also their secret homosexuality. They both bear on their shoulders the burden and responsibility of their families, whom Hai, a single father, had to look after on his own.
Being in the twilight of their lives, the two protagonists, despite all the difficulties, experience something they cannot do without, that is a true, gentle and unconditional love. ‘Suk Suk’ was presented at the last Berlin Film Festival
and it has won many prizes earning recognitions across the world. It is not the first film Yeung dedicates to the LGBT issue, but it remains the first feature
film in Chinese language dealing
with homosexual love in elderly age.

It is 1997 and the twenty-three-year- old Soledad Rosas leaves Argentina and her conservative family to start a new life in Italy. Soledad moves to a squat house
in Turin where she meets Edoardo Massari, with whom she starts a relationship. Happiness does not last long and in 5 March 1998 the two are arrested and charged with terrorist attacks against the high-speed railway line under construction.
The situation pushes them towards a point of no return. In her debut feature film as a director, Agustina Macri takes inspiration from Martín Caparrós’s novel to tell the troubled story of a young woman who tragically becomes the symbol of Italian anarchy.

The party organized to celebrate her seventieth birthday gives Aurore, a widow, the opportunity to gather the whole family: the first son Jean-Pierre, the writer primigravida Juliette, who is working on the book which gives the name to the film and collection of stories it is based on, the rebellious photographer Margaux, and Mathieux. Their lives are all at a turning point due to the choices one of them has made.
Je voudrais que quelqu’un m’attende quelque is a group film following the crucial stages of the life of the four protagonists, which are the same as in everybody’s lives.
Loyal to Gavalda’s book, the story Viard
tells through images is crossed by a recurring dualism: birth/death, first/last, and beginning/end.

Franco Rampazzo is a businessman in the building sector who decides, together with his loyal surveyor Gianni Colombo, to invest in the business of old age. In particular, they want to turn huge, abandoned hotels into
luxury nursing homes for rich pensioners coming
from all over the world. It is a true
‘paradise without god’ and death, a business unexpectedly attracting richer and more powerful men who had no qualms about trampling on small entrepreneurs and their projects.
It is a harsh and painful story taking inspiration from the novel with the same title
by Romolo Bugaro and it deals with the progressive aging of the population in Western countries and the collapse in the building sector, which is going to kickstart the ensuing and inevitable precipitation of the event, exactly like in a game of dominos.

The biography of Guido Crepax, a well-known Italian comics artist who reached success in the 1960s and died in 2003, could have begun from the artistic life of his father, who was principal cellist at the Scala Theatre, or from his success as a graphic designer, which earned him the Palme d’Or for advertising. Cercando Valentina, on the contrary,
presents him through his best known character, Valentina, who was initially given only a secondary role to then become, in the years that followed, a true icon
of mystery, seduction, imagination
and eroticism. She reminded of Louise Brooks, only sketched through captivating details, by breaking down the drawing and focusing on a detail which then becomes revealing of a state of mind. By observing his creature (Valentina), it becomes
possible to unveil dreams and obsessions of Crepax, her ‘creator’.