A documentary about Italy's underground oil and metan deposits, sponsored by Italian state-owned oil company, ENI. Pictures of the state-of-the-art oil infrastructure are mixed with others of the traditional way of living of poorer Italian regions.

A quasi-sequel to Michel Houellebecq's novel The Possibility of an Island, Masbedo's short presents a post-apocalyptic landscape overseen by a distant mother nature or perhaps mother of nature portrayed by French icon Juliette Binoche.

After a story of love and passion, lived on holiday in Brazil, Leonardo will have to face the hard separation with the help of his family and closest friends, to rediscover the happiness and joy of life

The maker writes of Non c'è nessuna Dark Side: "I could never say it's a film of mine (maybe not even a film); it's a space of chaos torn from the duration, from our being here to our fear of oblivion." Erik Negro's project started in 2007 as a kind of machine to stop time. What the machine has produced are unstable fragments as the interim phase of a historical and personal process of solidification. Out of the chaos of existence, this UFO has emerged, twelve years later. During this period, cinema and music offered some footholds for a boy from the Italian provinces who had just finished secondary school and was open to life (which among other things regularly brought him to the Rotterdam and Berlin film festivals). The footage was shot (and edited) a long time ago now, back when the film still had a form fixed in advance – over the years, this has been lost.

Two childhood friends who have not seen each other for a long time decide to meet again. They talk and look for what could have caused their estrangement: words pronounced in a certain way, an intonation etc. Very quickly, an argument begins and turns into a settlement of accounts.

The Skratch Fab presents It is not just a game, directed by Guglielmo Lipari, a short hit with the mockumentary style full of twists.

Short by Maurizio Braucci.

Performances by artists in 1968 Rome: Cesare Tacchi, Eliseo Mattiacci, Jannis Kounellis, Aldo Mondino and Nanni Cagnone redefine the boundaries of contemporary art by playing with heterogeneous materials, aluminum wheels, fish, kites, paper planes. The group from via Brunetti performs in piazza del Popolo, reviving the city traffic with by now bizarre means of transport, the velocipede and the tractor, on which, with an Indian scalp on his head, Gino De Dominicis whizzes by, immortalized by the camera before the cult of immortality delivered him to the logic of disappearance.

Based on a Pirandello play, Vittori De Sica plays a wealthy young social lion who has to constantly fight off a horde of women who are eager to marry him because of his position and money. He weds Elisa Cegani, a servant girl, who turns out to be a more appealing wife than any of the others could have been. Assis Noris decorates the screen well as one of the chasers and pursuers. In 1937, De Sica and Noris made a film, "II Signor Max," which, other than the setting and character role names, basically has the same plot as this film.

A Buddhist monk tries to preach non-violence to the Khmum-Chachak rebels and the National Army, who are in the midst of a civil war that can dangerously affect innocent civilians.