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This docuseries digs into the disappearance of 13-year-old Yara and the disconcerting investigation that shattered the peace of a small Italian town.

The encounter between physics and cinema and the terribly topical subject of the end of the world turned the set of Liliana Cavani's The order of time into a kind of Noah's Ark, where cast and crew isolated themselves for five weeks. Flooded by the climate emergency, wars, and the dystopian future, while Cavani holds the helm of the ship and Carlo Rovelli explains the end of time, the film's meteorite becomes in the documentary a metaphor for what happens in the protagonists' real lives.

A woman goes back to the island where her parents were killed. They had been working on a cure for cancer and accidentally raised the dead by angering a voodoo priest. With the woman is a group of mercenaries and they meet up with some other researchers. They raise the dead again and all hell breaks loose

After a wildlife biologist (Marco Marchese) becomes trapped on the wrong side of the river while collecting data, he comes across an abandoned village. Taking shelter, he begins to suspect he may be sharing the grounds with more than just boar and deer.

Venice Film Festival 1940

A woman murders her boyfriends and steals some diamonds he has smuggled. She gets found out though, and locked in a prison with an evil sadistic lesbian warden. She immediately sets about planning her escape with some of her fellow inmates, but the plans are even more difficult than they seemed when set in motion.

A big-time businessman throws in the towel on his company and high-tails it out to Bali just as its stock is about to be publicly offered. There, he tries to avoid the insistent phone calls coming from Manhattan and records his philosophical ponderings about this mid-life crisis on videotape. Before long, he is partying with another burnt-out businessman and avidly avoiding the attentions of colleagues who have come to Bali to try and get him to come back to Manhattan.

Nina lives a morbid relationship with her stepfather, who is serving time in prison for the murder of the girl's mother. Nina could exonerate the man - the mother actually committed suicide because she had discovered the relationship between her daughter and her husband - but she prefers to know him in prison in order to dominate and possess him. She succeeds in guaranteeing him a regime of semi-freedom, thanks to the money she obtains by organising parties based on drugs and sexual perversion. A young American man, Matthieu, falls in love with Nina and marries her, but is soon abandoned by her when she goes to live with her stepfather, who has meanwhile come out of prison old, depressed and at the complete mercy of his stepdaughter.

Turin 1993. The architect Agnese is called to the home for war veterans where her ailing father lives. The doctor at the home has left his guest, a Bosnian refugee, on night duty with her father. The commanding officer of the veterans home, a colonel, has discovered the undocumented refugee, Reuf, and has had him arrested. Agnese, who would rather not get involved with refugees, becomes better acquainted with Reuf and is drawn into events which eventually take her to Bosnia. On this journey, she begins to recall her childhood directly after WWII. Experiences made during the two wars converge and the wheel of history turns, without failing to leave its mark.

A rough and seasoned playwright and his young, bright and good-looking companion are the opposite sides of the same mirror.

Only a brief fragment survives from the beginning of this film, which seems to be a moving romantic melodrama: Diana Karenne plays the piano surrounded by a group of admirers in evening dress. She is a beautiful and slightly spoiled heiress, the kind of woman for whom Italian silent cinema reserved unfortunate turns of fate in order to elevate her to the status of tragic heroine. Even the few minutes remaining make clear that she proposes her own reinterpretation of the genre’s themes and motifs: from astonished grief over her father’s death to desperate wanderings through dark and impoverished alleyways. It is an expressive palette around which Pasquali weaves his discreet direction, paying particular attention to lighting effects.

In 1919, at the end of the Great War, Don Giovanni Minzoni returns to his parish in Argenta, in the province of Ferrara, wants to reorganize the social and cultural life of the community and tries to bring the rural children together into the old recreation center. The socialists, led by Natale Gaiba, the city councilor, openly show their disdain for Don Minzoni and his Church. After some time, anyhow, the relations with the socialists seem to begin, starting a relationship based on understanding and collaboration. At the same time another political force, modern and unexpected, makes its entrance into history and into the small village of Argenta. Fascism is taking hold in the cities and in the countryside throughout Italy, and even in Argenta the first riots and attacks begin…

A man from the past meets a woman from the future thanks to an interference between phone lines. They both have a common purpose: stay together beyond the time.

Mattia is a boy who has gone blind following an accident. One day at the port he meets Henry, younger than him and of a noble family. Day after day their friendship will turn into love but ... The short, with strong themes, tries to make known the "Barriers" of modern life, from those that still discriminate and undermine the love between two people of the same sex to those that still exist between the various social classes.