Dacia Maraini

A woman, director of advertising films, catches the eye of a mysterious young woman dressed in white during an evening of dancing on the terrace of a bar and is fascinated by her.

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Three women leave for a beach holiday. The joy, the carefreeness of days on the beach, lunches on the terrace, lazy afternoons punctuate this "holiday film" which slowly reveals and builds the sensual and playful intimacy of the relationship that binds the protagonists/directors.

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Milk in its symbolic and ancestral dimension is the fulcrum of this short film. Primary source of female nourishment, abundance and life, milk flows, is drunk, steeps and nourishes. The woman-mother is its dispenser, the one who safeguards its vital power. The color of milk, however, also recalls male seminal fluid and the dimension of the sensual exchange between man and woman.

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Fede is a theater actress who, while putting on clown make-up for a show, thinks back to her relationship with her father: a relationship of tenderness, desire and hatred.

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"What I tried to "tell" is Rosa's close and distorted relationship, common to many women who are used to living alone with themselves, with objects that have become animated and unreal and the relationship which is completely silent, but no less clear and explosive of Rosa with her feminine unconscious” (D. Maraini).

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Directed by Dacia Maraini in 1976, this documentary serves as a sharp and necessary social critique of its time. The film offers a deep dive into the exploitation of Cape Verdean women who immigrated to Italy, highlighting how they were funneled into domestic labor for wealthy families as a source of cheap work. Featured in the curated section "The Woman’s Gaze," the work stands as a powerful example of feminist filmmaking that tackles complex socio-political issues. Through Maraini's lens, the film moves beyond simple observation to denounce the economic and systemic struggles faced by immigrant women in 1970s Italy, capturing a poignant moment of intersectional struggle.

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In a well appointed villa in Bagheria, near Palermo, a couple, Silvio and Leda Pataneo, spend their days attempting to complete a novel, making love, and caring for a citrus grove that the local townfolk want to acquire. All framed against a political backdrop of class and cultural differences.

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Perennially hungry for life, Ferdinando Scianna is now a gentleman in his eighties, with a vibrant mind full of incredible stories. He even has had a few brushes with death. Being let into his life means retracing an existence marked by encounters with some of the giants of twentieth-century culture, interwoven with friendships and questions about the meaning of photography as a practice, the significance that producing images can still have today.

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Documentary about the life of Aldo Braibanti, an 'heretic' Italian intellectual, from early anti-fascist activism to his death, passing through the infamous 1968 mock trial which, under the flimsy accusation of “plagio”, actually aimed at his independence and homosexuality.

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Tokyo 1943: Italian anthropologist Fosco Maraini and painter Topazia Alliata refused to sign allegiance to Mussolini's government. They were sent to a prison camp in Nagoya with their three daughters, Dacia, Yuki and Toni. Today: Toni's daughter Mujah explores her family's experience and legacy by bringing their memories to life as she makes her own journey to Japan.

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On the 40th anniversary of the death of Maria Callas (September 16, 1977), with footage never seen before from Pier Paolo Pasolini's film MEDEA, this film celebrates the genius and sensibility of two icons of the XX century.

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A young restorer is commissioned a job at an old villa which belongs to an aging countess.

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Three sisters, played by Fanny Ardant, Greta Scacchi and Valeria Golino, struggle with their illusions, goals and desires in Margarethe von Trotta’s film adaptation of Anton Chekhov’s play.

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In this improbable, ponderous story about a couple who do not want to have children of their own, and a pregnant, single woman who needs a home for awhile, the relationship between the three is strange, at the very least.

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Piera is a young woman who grows up under the parentage of two extremely original overseers: both her mother and father have incestuous relations with her before they are committed to insane asylums. A special connection, between a mother and her daughter, full of sensuality and complicity, has allowed to portray a family full of fears, rather unbalanced, but nevertheless searching infinite love.

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Milk in its symbolic and ancestral dimension is the fulcrum of this short film. Primary source of female nourishment, abundance and life, milk flows, is drunk, steeps and nourishes. The woman-mother is its dispenser, the one who safeguards its vital power. The color of milk, however, also recalls male seminal fluid and the dimension of the sensual exchange between man and woman.

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