Bride-to-be Laura stumbles into her neighbor’s party whilst taking a walk and suffers an aggression. Laura swears vengeance on those who filmed the action and sets out armed with a gun and knife. The Silent Party uses the revenge trope simply as a plattform to convey a much more subtle message about patriarchism, stale relationships and female empowerment.
In a remote Icelandic town, an off duty police chief begins to suspect a local man for having had an affair with his wife, who recently died in a car accident. Gradually his obsession for finding out the truth accumulates and inevitably begins to endanger himself and his loved ones. A story of grief, revenge and unconditional love
Oppressed by her family setting, dead-end school prospects and the boys law in the neighborhood, Marieme starts a new life after meeting a group of free-spirited girls. She changes her name, her dress code, and quits school to be accepted in the gang, reinventing herself and gaining a sense of self confidence in the process. However, she soon finds that this new life does not necessarily make her any happier. Powerfully acted and smartly scripted, Girlhood offers a fresh perspective on familiar cinematic territory.
After her grandmother dies, Nelly (Joséphine Sanz) is taken to her mother’s childhood home. While her parents go about cleaning out the house, Nelly explores the surrounding woods. She encounters Marion (Gabrielle Sanz), a girl exactly Nelly’s age and to whom she bears a striking resemblance. The pair become fast friends, constructing a hut together, sharing lunches, and talking over the life transitions both are in the midst of. (Marion is only days away from going to hospital for an operation.) Incrementally, the girls’ eerie similarities yield revelations that merge events of the past with those of the present.
Small in narrative scope but deeply impactful, Petite Maman is a delicate, powerfully acted meditation on grief and memory by waving a fond farewell to childhood innocence, the people you love and the person you once were with radiant charm.
A poignant and moving coming-of-age story, and an example of the way cinema can make real both memories, without losing their bitter honesty, and dreams, without compromising on their glowing promise.
L’obiettivo principale di HerStories. Le Storie, Plurale, Femminile è intraprendere un percorso di narrazioni collettive al femminile. Questa seconda edizione è dedicata alla narrativa al femminile e al disegno dal vero. Due forme d’arte, due linguaggi, che si incontrano per stimolare un dialogo fertile, un’interconnessione tra stimoli artistici e culturali. Un ciclo di letture accompagnate da performance basate su disegni realizzati dal vivo ispirati brani stessi, confluiranno in quattro brevi book-trailers.
Per iniziare questa nuova avventura, nella sede del Detour APS il 21 novembre, la Maestra di Pittura Olga Silivanchyk terrà un corso di “disegno veloce” che preparerà le disegnatrici e i disegnatori a cimentarsi nelle performance che avverranno negli appuntamenti successivi.
Federica Tuzi, Sara Pollice, Maria Xilouri, Marina Lalović, quattro protagoniste della nuova narrativa indipendente europea, tra esordienti e più affermate, si alterneranno alla lettura di estratti delle loro più recenti creazioni letterarie.
HERSTORIES alla sua prima edizione desidera tracciare un percorso di narrazioni collettive al femminile. Quel che si intende realizzare è un racconto espanso al femminile, dove la storia di ognuna di noi è anche quella di tutte le altre.
Per inaugurare questa nuova edizione di Herstories, il 21 novembre la Maestra di Pittura Olga Silivanchyk terrà un laboratorio gratuito di “disegno veloce”.
Il lab è propedeutico alle performance di disegno che avverranno durante le letture di Federica Tuzi, Sara Pollice, Maria Xilouri, Marina Lalović, quattro protagoniste della nuova narrativa indipendente europea, tra esordienti e più affermate. BIO. Olga Silivanchyk, Maestra di Pittura nasce a Minsk, Bielorussia, nel 1980.
Dal 2013 vive a Roma. Nel 2003 inizia a scoprire i segreti della tecnica iconografica e prende lezioni di pittura, disegno e composizione. Nel 2004 all’Accademia Statale della Belle Arti di Minsk, nella Facoltà di Pittura, studia le tecniche tradizionali.
Nel 2008 si è diplomata con la qualifica di “Pittore, Insegnante” e inizia a insegnare presso la Scuola Statale d’Arte N41 di Minsk. Dal 2013 insegna a Roma.
In a remote Icelandic town, an off duty police chief begins to suspect a local man for having had an affair with his wife, who recently died in a car accident. Gradually his obsession for finding out the truth accumulates and inevitably begins to endanger himself and his loved ones. A story of grief, revenge and unconditional love
The great Taiwanese filmmaker Tsai Ming-liang has been directing exquisite examinations of alienation, isolation, and the fleeting beauty of human connection featuring his muse Lee Kang-sheng for decades. His latest film, DAYS, will undoubtedly stand as one of his best, sparest, and most intimate works. Lee once again stars as a variation on himself, wandering through a lonely urban landscape and seeking treatment in Hong Kong for a chronic illness; at the same time, a young Laotian immigrant working in Bangkok, played by Anong Houngheuangsy, goes about his daily routine. These two solitary men eventually come together in a moment of healing, tenderness, and sexual release. Among the most cathartic entries in Tsai’s filmography, DAYS is a work of longing, constructed with the director’s customary brilliance at visual composition and shot through with profound empathy. With the unanimous approval of critics and the public, Days won the prestigious Teddy Award at the Berlin Film Festival 2020, an honor that certifies the best film with a LGBT background.
In a remote Icelandic town, an off duty police chief begins to suspect a local man for having had an affair with his wife, who recently died in a car accident. Gradually his obsession for finding out the truth accumulates and inevitably begins to endanger himself and his loved ones. A story of grief, revenge and unconditional love
After her grandmother dies, Nelly (Joséphine Sanz) is taken to her mother’s childhood home. While her parents go about cleaning out the house, Nelly explores the surrounding woods. She encounters Marion (Gabrielle Sanz), a girl exactly Nelly’s age and to whom she bears a striking resemblance. The pair become fast friends, constructing a hut together, sharing lunches, and talking over the life transitions both are in the midst of. (Marion is only days away from going to hospital for an operation.) Incrementally, the girls’ eerie similarities yield revelations that merge events of the past with those of the present.
Small in narrative scope but deeply impactful, Petite Maman is a delicate, powerfully acted meditation on grief and memory by waving a fond farewell to childhood innocence, the people you love and the person you once were with radiant charm.
A poignant and moving coming-of-age story, and an example of the way cinema can make real both memories, without losing their bitter honesty, and dreams, without compromising on their glowing promise.