César García Aguiño

With no choice, César faced leaving his family behind, quitting his job and joining the Army. In an unprecedented chain of events he became the first conscientious objector in Galicia (Spain) to be put in prison. Now, nearly thirty years later, Two Years, Four Months, A Day takes a look at what made him do it.

The portrait of a young bakery worker in Swabia. A vague desire for something else lurks between her sentences and the images of her everyday life.

A report on the Film Academy in Ulm, Germany

This is a two-hour in-depth exploration into the Hollywood musicals of the 1940s.

With confidential and unpublished documentation, the film shows the background and behind-the-scenes of the coup in Chile that took place on September 11, 1973 - and General Pinochet's dictatorship, which lasted 17 years.

During the last argentine military dictatorship, the Army developed a systematic plan for the abduction of children, with maternity wards inside the clandestine detention centers. This film proposes itself as a trip to the truth "to bring to light the places where lots of babies saw the light for the first time"; Three restored children show the part for the whole :how a genocide was orchestrated,a scheme which planned the deprivation of identity of babies born in captivity, children of illegally kidnapped and detained women.

Biography of Marlene Dietrich using interviews, film clips and rare footage of the actress, including her own home movies.

This first year, from suffering to freedom, bears witness to the rebirth of a liberated country.  Surreal Syria, through the eyes of survivors of Sednaya, Adra, Mezze, and other Syrian prisons, tells the story of the dark cells, the lost years, and the endless wait of the faces hanging on the walls.  It brings to life the voices that oppression could not silence, reviving in the streets on the first anniversary of freedom.

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.