Il Carnevale più antico d’Italia, ricordi, filmati, un immaginario potentissimo radicato nei secoli in una città: Fano. Una tradizione, quella della cartapesta, e maestri carristi che, generazione dopo generazione, hanno saputo costruire tra creatività, ingegneria e manualità dei palcoscenici viaggianti chiamati carri. Una maschera, il Vulón, e il suo incontro con un bambino. Lui non sa nulla del Carnevale di Fano. Chi meglio di una maschera per accompagnarlo tra sfilate, costumi e dolciumi e per raccontargli che in fondo il Carnevale non è solo una festa ma qualcosa di più: un sentimento, uno stato d’animo che scalda il cuore di una città e di un territorio. E mentre la settimana del Carnevale si avvia alla fine, qualcuno è già pronto ad un nuovo inizio…

Starting from the end of the Second World War and for over forty years, the history of Albania was inextricably entwined with that of a single man. Enver Hoxha guided the country through ephemeral alliances and radical breaks with the status quo, driving him to adopt total isolation. A State Film shows us the forty-year-long Communist regime in Albania through material that the state produced to promote itself. Drawing entirely on often never-before-released archive footage – official propaganda films, footage from the regime’s private or reserved holdings – this film weds images and sound to portray a regime that used cinema as a tool of power. Just what do these same images tell us today?

Livio Garzanti. A difficult and moody man, obsessed with death, loved and feared. He was also a brilliant and highly cultured publisher, capable of reconciling the refined and scandalous authors he discovered and launched—Pasolini, Parise, Gadda—with literary entertainment and cultural dissemination of the highest quality, which he saw as his life's mission. Toni Servillo recounts the two worlds, the publisher’s and the private, which constantly intertwine in the choices and ideas of an intellectual who hated rhetoric and cultural snobbery, always preferring surprise, provocation, and the truth, even if disturbing.

A 20-year long friendship and a past similarly marked by tragic events unite Ben, a European filmmaker, and Negi, an Indian Buddhist. Fascinated by the possibility of finding in Negi a spiritual guide to come to terms with death, Ben relives and shares his personal story. His journey leads him to deal with the role life has given him, closely linked to his relationship with his father. As the impossibility of finding clear and definitive answers becomes apparent, the deeply human need to accept death emerges, transcending cultural, religious, and geographical barriers.

In the year 1999, a young woman leaves her quaint seaside house and returns to the city, leaving in the mailbox a card for the next owner, with instructions to forward any mail of hers to the new address. In the year 1997, a jaded young architect moves into the same house and finds the letter. His reply, which he slips into the mailbox, finds its way to her, beginning a parallel-time love story separated by a span of two years.