To make up for lost time with his four children, a charismatic car salesman organizes a Caribbean yacht trip that quickly spirals into an out-of-control adventure filled with mix-ups, laughs, and second chances.

Mario lives suspended within the walls of his apartment, immersed in the colours of his paintings. Memories of a carefree past in which the sense of community was strong resurface like lightnings – fragments of a time when everything seemed fuller and closer. The present, instead, feels silent and distant. Mario leaves for Naples. The city is overflowing with excitement after winning its third championship. Hopefully, there he will meet his estranged son, with whom dialogue has become awkward. “The leading character [artist Mario D’Ambrosio] moves around in a solitary, melancholy present. He seems to wonder what remains of the time when he was free, young, rebellious, and animated by a desire to build a better world with others.” (Danilo Monte)

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A man seeks a wife to raise his children and finds the answer to his prayers in the way he least expects it.

影片讲述了14岁的菲力帕在成长的过程中面临父母婚姻裂痕的问题，父亲有了情人，母亲陷入绝望，家庭分崩离析，而这时菲力帕遇到了他的初恋………

这部伪日记电影由未完成的16毫米电影的拾得素材组成。《漂流的潜力》是由一位巴西艺术家在加州洛杉矶流亡期间用化名拍摄的一部电影。孤立的镜头和先前组合的场景揭示了创作一部神秘影片的意图，影片由没有人物出现的访谈、空荡的房间、广播录音、足球比赛和导演的突然现身组成，以一种偏执和焦虑的方式缓缓地反思巴西的殖民历史、北美的帝国主义和当时的军事独裁统治。请注意，这部电影的最终版本从未存在。现在呈现的版本只是导演试图用这些本将消失的影像制作一部电影的尝试。

安娜从非洲回来，在那里他在一家非政府组织工作了两年，受雇于巴塞罗那郊区的一家高级健康中心担任保安。和她分手​​男朋友回家后，一位同事留下一辆露营车作为临时住所。在野外露营几周，然后安装在高速公路服务区的停车场。在一次夜间巡逻工作中遇到一名年轻人，被法庭命令承认，因瘫痪而不走路，并拒绝透露自己的身份。

Helmer of one of Argentina’s most remarkable filmographies, Fernando “Pino” Solanas ends his career with a documentary in which he explores the mysteries of creation alongside two other great artists who are in the final stages of their lives: actor and playwright Eduardo “Tato” Pavlovsky and visual artist Luis Felipe Noé. Talking about issues such as exile, political commitment, crises and desire, they share experiences and reflect on the origin of their ideas and the material exercise of creativity. As a closure that overflows with vitality and also looks at death right in the eye, Tres a la deriva del acto creativo is not just the end of a brilliant career, but also a true testament that reaffirms constant restlessness and curiosity as inalienable qualities for all those who want to devote their life to art.

Surgery is the new sex, 18th-century style. In David Cronenberg’s wry, surrealist miniature, four anatomical female wax models—taken from the collection of Florence’s 250-year-old science museum La Specola—lie in uncanny repose as the camera dreamily caresses their detachable organs, exposed body cavities, and glossy ceroplastic flesh. Under the director’s inimitable gaze, objects created as pedagogical tools take on an impassioned agency, contorting in perpetual agony and ecstasy.