A vividly interwoven tale of secrets and connections, Il rumore delle cose nuove centers on three families whose lives have quietly overlapped in the streets of Milan—unaware of each other—for years. Andrea, a photographer, and Andreina, a nurse, share a haunting truth: Andreina has given a part of herself to keep Andrea alive. Umberto finds solace in alleviating others’ pain at work, yet at home he inflicts suffering upon Alba, once hopeful, now dreamless. In another household, Ralph, who crafts sounds, and Viola, an actress who yearns to live as freely as she performs, are quietly struggling—alongside Mirko, a ten‑year‑old whose presence echoes loudly. As the story unfolds, their ordinary routines unravel under the weight of these “noisy” secrets—some seemingly trivial, others utterly unbearable. Chaos tumbles over the fragile bonds holding them together, forcing confrontations with truths they can no longer ignore.

When the silent cinema learned to speak, the audience was surprised not only by the voices of the actors and the sound effects, but also by a new element, the music, which, combined with the dance and an unprejudiced imagination, gave rise to a new genre, as important to Hollywood cinema as the western was: the musical. A journey through the history of this genre, from its beginnings to the present day.

Three characters in the post-industrial outskirts of Taranto share the same condition of exile, unbeknownst to themselves: a young man explores the landscape through a recorder, mapping sounds; a young woman gets lost among woods and nocturnal rituals; a visually-impaired person caresses the leaves of his vegetable garden, which he tends with enthusiasm and dedication. Landscapes suspended between sea and concrete, old military outposts, and dilapidated farmhouses become the setting for a waiting caught between fleeing and staying for good. The film alternates silences, minimal gestures, and acoustic fragments through an editing that interweaves intimacy and allegory, revealing the conflict between attraction and repulsion towards one’s own city. A place that is at once beloved and despised, distant and inevitable, Taranto is the symbol of a broader condition of alienation and belonging. These Things Never Happened But Have Always Been is a poetic and visionary tale that transforms fragility into a potential metamorphosis.

Bogotá, 1980. During the government of President Turbay. An urban cell of the M-19 invades the Embassy of the Dominican Republic, taking 14 ambassadors as hostages. They demand that they be exchanged for political prisoners. The film focuses on the events that took place during those two months of captivity.

Bogotá, 1980. During the government of President Turbay. An urban cell of the M-19 invades the Embassy of the Dominican Republic, taking 14 ambassadors as hostages. They demand that they be exchanged for political prisoners. The film focuses on the events that took place during those two months of captivity.

Elías, wounded and lost in the mist, rows back to his island only to find that the flood has washed away everything and his home lies lonely. He will try to change but this is not enough for the water to wash his blood.

One of the most screwball TV shows of Spain.