Daniela Ceselli

Marco Bellocchio in his interview with Joyce in 1994 talks about his attitude towards life devoid of dreams and illusions, but extremely active, asking her how it is possible to transmit the extraordinary things that she has lived. Her straw handbag still hanging on a door of her room, the cuckoo of the room, the wicker rocking chair, her colored combs resting in the bathroom near the mirror, the Sardinian carpets, the flowers that Angela always puts on the kitchen table, the reeds dancing with the wind. Joyce's house in Fermo, in the Marche region, is a house that breathes life, a life many times dramatic but also rich in poetry. The period of exile with Emilio Lussu in Paris, the struggles of women in Sardinia, the translations of poets who wrote "useful poetry", the one that comes directly, without too many words, to the knowledge of other realities and to sentiment.

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White mannequin mask, fiery red wig, voice disguised as the distortion: Laika (like the dog that was launched into space on Soviet Sputnik) has enlivened the walls of Rome in recent pandemic years with posters and murals that scream civil indignation (the best known is the one who imagines a hug between Giulio Regeni and Patrick Zaki). Two years of battles of the street artist with a mysterious identity, followed in his night outings by the camera of Antonio Valerio Spera, who mixes fragments of Laika's video notes with a pop spirit, interviews with the recipients of his messages, archive materials on the "hot" topics dealt with by the artist and, of course, his works. To relive these years through the eyes and talent of a woman who defines herself as "a Roman attacker" and demonstrates a profound moral and artistic awareness.

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Where I've never been to live, Francesca's emotional conflicts, 50, is the only daughter of a famous Turin architect, to whom she visits only on rare occasions. For many years, Francesca lives in Paris with her teenage daughter and her husband Benoît, a financier on her sixty, apparently reserved but paternal and protective about her. Due to a domestic accident that forces the elderly father to bed, the woman flees to Turin to take her parents in the design of a villa on a lake for a young couple. At work he meets architect Massimo, his peer-minded career and engaged in an open relationship with independent Sandra. After a tough first approach, Massimo and Francesca create a strong professional tune that leads to a deep and passionate feeling. For the first time in life, both will have to really confront themselves and their most authentic destinies ...

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Dino and Anna are a couple in their forties. Their relationship is hardly conventional: in fact, it is unconsummated. Dino gets out of it, gratifying himself with prostitutes and swingers. He reaches his nadir when he looks up Anna’s old boyfriends to ask about their sexual relations with her, and even begs them to take her back, as a way to end their relationship. Anna can’t find a way out herself; she can’t bring herself to end this one-of-a-kind, tormented love affair. In the end, Dino’s angst is what makes her feel loved, feel unique. No solution seems to be waiting in the wings.

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