爱丽丝·洛尔瓦彻([幸福的拉扎罗])、皮耶特罗·马切罗([马丁·伊登])、弗兰西斯科·穆尼兹([黑色灵魂])将联合执导纪录片[未来](Futura，暂译)。该纪录片被称为三位导演的“集体调查”，他们在意大利各地旅行，与遇到的青少年对话，询问他们对未来的期望与前景。该纪录片将通过青少年的眼睛来观察意大利。

马丁（卢卡·马里内利 Luca Marinelli 饰）出生在贫穷的家庭之中，没上过几年的学，如今借助在姐姐家里，并且成为了一名终日漂泊在茫茫大海之上的水手。
一天，马丁邂逅了名为爱莲娜（杰西卡·塞西 Jessica Cressy 饰）的千金大小姐，爱莲娜将法国诗人波德莱尔的诗集借给马丁看。马丁这辈子从来都没有看过这样的文字，一下子便被深深的吸引住了。在海上漂泊的漫长时光里，他如饥似渴地吸收着这些知识，并且渐渐产生了自己写作的念头。
马丁失业了，借此机会，他决定正式走上写作的道路。他不断的投稿，又不断的遭遇退稿，唯一没有想过的就是放弃。最终，马丁的小说被出版了，这令他收获了无数的名誉和财富……
改编自杰克·伦敦的同名小说。

This is a tribute to an artist whose songs told the story of Italy at a time of rapid social and cultural change. Thanks to the testimony of the singer’s manager and friend Tobia Righi, and an effective and original use of archive material, Pietro Marcello retraces the life of Lucio Dalla, making him a spotlight through which Marcello sheds light on a country that rose from the ruins of the Second World War to sever its roots with peasant culture and move towards a future of factories, consumerism and mass car production. Not handsome or dashing like the other singers of his generation, Lucio Dalla embodied a different role model that was closer to ordinary people. For here was an artist capable of transposing the poetry of Roversi, who provided the lyrics for some of Dalla’s most beautiful songs, into a musical arrangement that spoke to everyone.
The director of Martin Eden returns to the documentary form with a film that pays tribute not only to a great singer but also to a notion of a people that has vanished with him.

The Armenian filmmaker Artavazd Pelešjan was unknown in the West until 1983, when the French critic Serge Daney approached him and, together with a handful of other fans of his work, introduced his work to Europe. According to the French critic, “Pelešjan’s aim is to capture the emotional and social ’cardiogram’ of his time“. This film is not trying to be a biography, or even a documentary, but simply the result of an extraordinary undertaking: filming – for the first time in thirty years – one of the greats of world cinema. Pelešjan’s cinema is a cinema of intensity and, at the same time, the precise experimentation of a form of “distance editing“. Although deriving from the work of Sergei M. Eisenstein and Dziga Vertov, it distances itself from the two great Russian filmmakers’ own principles of editing. The film is constructed around “distance editing“ – as an experimental hyperbole and proof of an interior editing: it opens with a meeting with Pelešjan in Moscow, filming his fleeting and intense figure, before retrieving fragments of his works and new material showing him at exceptional times in his life. Extraordinary repertories from the director’s biography include sequences taken from film shoots and from his diploma exam at the VGIK, the prestigious Pan-Russian Institute of Film in Moscow.
Director's Statement
Il silenzio di Pelešjan aims to outline the portrait of a memory: the work of Armenian filmmaker Artavazd Pelešjan. A memory of his works and creativity, the memory of cinema and its relationship with the man, his life, his way of thinking, his emotions and the incessant, infinite paths that connect one with the other. The portrait of Pelešjan is made up of inspired and lyrical visions, a space of visions constellated by sequences from his works and fragments of his life: vibrant film footage that gives us a sense of his extremely expressive work, in which the creative movement that generated it is not ruined by our intervention.

愚蠢的仆人普西奈拉被从维苏威火山深处送到今天的坎帕尼亚，以纪念可怜的牧羊人托马索的最后愿望：他的任务是拯救一只名叫Sarchiapone的小水牛。普西奈拉在卡迪特洛的故宫里发现了这只动物，托马索曾在那里照看过火焰国中心被毁的波旁庄园。他把水牛带到北方，两个仆人，人和牲畜，在美丽而失落的意大利旅行，但他们漫长的旅程的结束并没有带来他们所希望的。

倖存的拉斐爾在第一次世界大戰後蹣跚回村，迎接他的卻是未曾謀面的襁褓嬰兒，以及愛妻離世消息。人事已非的生活艱難而殘酷，村民間更似有噤聲不語的祕密，曾為木匠的拉斐爾一邊重拾技能謀生，一邊為女兒製作精巧玩具，同時刻磨著心裡最深的傷痕。漸長的女兒茱麗葉承襲了父親對藝術與音樂的熱愛，也深信女巫預言的赤紅風帆終將帶她遠離宿命。直到一天，一架迫降的飛機墜落在村莊裡……。　　

改編自俄羅斯小說家亞歷山大．格林著作，路易．卡瑞主演，義大利導演皮耶托．馬切羅的第二部劇情長片，將目光聚焦在法國自然鄉間，透過一貫擅長的紀錄片蒙太奇手法，交織歷史、音樂與傳說，並以16mm鏡頭的顆粒感和大量自然光暈，編寫成一首跨越十年時空的田園詩歌，再次施展出導演獨樹一幟的魔幻寫實風格。

A journey through Italy marked by the rhythmic sound of the long distance express trains. Landscapes flash past, at times marred by the intervention of Man, at times intact and beautiful. Inside, the passing of time is marked only by the variations of light. A terrain of encounters and solitude.

A portrait of actress Eleonora Duse.