The son of a prostitute of an eastern European village, Tobias spends his new life in a watch factory. Being alienated by his monotonous work, which seems to slow down the hands of time, he finds a(nother) way out in writing and patient waiting for a woman who exists only in his imagination. Or perhaps not. As always, the arts are the shield and revenge from a tiring routine and slow speed of life. The story has a literary touch even in its photography, which has been masterfully curated by Luca Bigazzi.

Rosalba è una casalinga depressa e trascurata, madre di due adolescenti e moglie di Mimmo, uomo rozzo ed infedele. Nel corso di una gita a Paestum, viene dimenticata all’autogrill e nel tentativo di tornare a casa coglie l’occasione per una fuga improvvisata verso Venezia. Lontana dalla famiglia e dai suoi doveri si gode la sua ritrovata indipendenza lavorando in un piccolo negozio di fiori. La vita di Rosalba ritrova una dimensione nuova e riscopre interessi e rapporti che sembrava aver dimenticato.

Z, a physician and left-wing activist, dies in unusual circumstances. Investigations conducted by the appointed detective reveal responsibilities and attempts to cover them up by the Government and police. Awarded with two prizes at the Cannes Film Festival and an Oscar for Best Foreign Language Film, Z is a political and engaged film, which nonetheless employs the technical and narrative devices of more ‘spectacular’ films.

Pontecorvo had done the same a few years
earlier with the Algerian story.

A woman is found dead in one of the sleeping cars of the train connecting Marseille to Paris. It is the first of a series of murders, all perpetrated by the same killer.

For his first film, Costa-Gavras chooses a detective story rich in suspense. However, he goes beyond the genre canons by employing innovative visual solutions and makes the most of Hitchcock’s lesson while skilfully building up the suspense.

Michel and Lidia do not know one another, but share a common fate through their partners: the terminal illness of his wife and the consequences of their son’s death for her husband.

They are looking for a fresh start
and they both see it in the other. So, they completely change their initial plans and decide to flee to Venezuela. But is Lidia truly ready?
The romantic shift by Costa-Gavras, starting from the novel by Romain Gary, a writer of Lithuanian origin, results in a film centred on the efforts to face the unbearable drama of solitude.

To counter the serious economic crisis that has swept Greece since 2009, the Eurogroup has imposed ‘a dictatorship of austerity’ on the country while disregarding humanity and compassion. So, from the ‘room of power’ started a human tragedy, one in the most ancient and ‘truly Greek’ sense: the characters are led by their ideas of good and justice. Super-national decisions have trapped citizens in a cruel web of power while
citizens on their part find their own personal ways to resist and face the social twists generated by the economic recession.

Delia comes back to Naples for the funeral of her mother Amalia and investigates in the last months of her life to understand her death. Little by little, Delia identifies with her mother in a lucid, painful and self-punishing delirium. She starts analysing herself, her memories, her and Amalia’s body, and the unchallenged balance which has remained the same in time and is rooted in a city under renovation  with an explosion of colours and an extraordinary polyphony of sounds.