For Filmmaker Film Festival (2023), Fulvio Baglivi and Cristina Piccino asked some filmmakers (R. Beckermann, J. Bressane, D’Anolfi/Parenti, T. De Bernardi, L. Di Costanzo, A. Fasulo, F. Ferraro, M. Frammartino, S. George, ghezzi/Gagliardo, C. Hintermann, G. Maderna, A. Momo, A. Rossetto, M. Santini, C. Simon, S. Savona) to give us their own "lost road," that is, a sequence, scene or piece of editing that did not later find its way into the final version of one of their works. Each fragment has its own accomplished presence, often has a different title from the film it was made for, which is not necessary to have seen in order to find meaning; on the contrary, those who set out thinking they know the world they are walking through will find themselves displaced.

The panorama of human affairs encounters the “man with a movie camera”. His playground has no boundaries, his curiosity no limits. Characters, situations and places pitch camp in the life of a humanity that is at once the viewer and the thing viewed. But what are the last days of this humanity? Have they already passed? Are they now or still to come?

"The Man With The Golden Eye" tells the extraordinary figure of Marco Melani through a live projection of materials collected in over ten years of research. Found footage, unpublished interviews with cinema and television personalities, fragments of films, extracts from television programs, photographs, readings and interventions by the author, intertwine giving voice to a chorus of precious testimonies.

The film is a rendition of Resurrection, Tolstoy’s last novel. It begins with a reading of the beginning of the first part in Naples, in September 2012. It moves on to Berlin, Locarno 2013, Oneglia, Paris, Casalborgone, and it ends in Milan with the beginning of the second part. The places and times change, and so do the people doing the reading. But also, in the middle, real people and voices surface, like Adamo Vergine at his home and Jean François Neplaz in Marseilles. The film searches for the possible faces of Tolstoy’s two protagonists in Oneglia, Procida, and Casalborgone.

Two old friends have urban adventures connected to the skull of an executed French aristocrat.

“Why did you kill her?” Lou asks Philippe again. The life-odyssey of Joana, a modern-day Moll Flanders, continues as she moves through different times and places, like the stations of a personal via crucis, with occasional leaps into the present. From Paris to Rome and on to São Paulo. The body has lost every value, except the economic one.

A young woman wanders down an endless corridor, while other people knock at a door at night. A man takes a picture of Montmartre, two women hand him some money, while a patron manages from rue de Mhyra a network of Italian call girls. Adiba sings an ancient Moroccan song in a room full of children, while Vidya is performing her daily puja in Pune (India). Giuli sings to herself as she drives at night through Turin and runs to the station at day. Parallel stories where every character is caught “in a situation,” closed.

Piero Tortolina has been a point of reference for a whole generation of film lovers. Pioneer of cinema-clubs and great film collector, he has been an invisible protagonist in the history of italian cinema.

La Balena di Rossellini origins from one of the most beautiful Roberto Rossellini's dreams, an exemplary project for his autorial path. The film conceived, but never realized, by Rossellini took shape in his notes after a trip to Chile conducted in May of 1971, a trip made to conduct an interview-portrait of Salvador Allende, then actually carried out by the director of "Rome, Open City". October 28, 1971: Rossellini, back from Santiago, Chile, reads a newspaper reports of a beached whale on the Pacific coast near a poor village inhabited by fishermen. From this simple news comes a film script for a fable about wealth and poverty. A film whose shooting Rossellini would have been entrusted to the young student Claudio Bondì, just graduated from the Experimental Center of Cinematography.

We started to make an extra to be included in our first DVD "Democratic Optimism", a collection of short films in black and white we shot between 1990 and 1999.

Documentary focused behind the scenes of the making of the play 'io' by Antonio Rezza and Flavia Mastrella

Anthology of urban stories form seven Italian directors.

Docu-drama about cancer patients. An elderly farmer, believed to be mad by his family, dispenses wisdom to the other patients; an actress takes advantage of the hospitalization to shed light inside herself; a young doctor lives with schizophrenia his condition as a patient.

Enrico Ghezzi cuts out porn magazines looking for a fake cataloging criteria, while Sergio Grmek Germani, off screen, reads and comments on a pornographic filmography edited by Marco Giusti (published by Italian magazine Filmcritica), correcting errors and underlining his insufficient pornophilia.

There's something wrong with the way things are perceived. A different, unfriendly view is to stand out among individuals as their own maker is spelling the rules from a tv set for them to keep on living or to die. No longer than a blow-up such an illusion will survive...

Inspired by the "The wind of cinema" festival which every year deals with issues relating to the relationship between cinema and philosophy, it shows a conversation between the critic Enrico Ghezzi and some directors including Werner Herzog, Amos Gitai, and the philosopher Boris Groys. The theme addressed is the "Catastrophe".