Francesco Clerici

Fernanda Wittgens joined the Brera Museum in 1928, and after a few years she was its director. Courageous and visionary, during the war she saved artworks from the bombings, aided political opponents of Fascism and Jewish families in fleeing the regime, and was imprisoned for her actions. After Italy’s liberation, she rebuilt the Brera and championed its being open and accessible to one and all. Yet despite her groundbreaking policies, she was forgotten after her death. This film seizes on that absence. Calling on the actress Sara Drago, who lends her face and voice to Wittgens in her letters, and the art historian Giovanna Ginex, the filmmakers create a collaborative space in which the past, the present, and their interpretations are intertwined. Fernanda, albeit invisible, is a living presence.

​Beyond begins with Alex Bellini's 2017 Vatnajokull glacier expedition, a life-changing experience. In Jan. 2025, Alex returns to the expedition sites to seek answers and interpret the meaning of what happened eight years earlier with new eyes. Through this reconstruction, the documentary aims to contribute to universal reflection on the meaning of exploration and the concept of limits.

An urgent portrait of the people of the Zanskar valley and their struggle to survive extreme living conditions aggravated by climate change.

14 August, sunrise. In the south of Milan, the most international city of Italy, three figures wake up at dawn and are brought to work. They are the silent guardians of a great Italian agricultural tradition that has undergone profound changes in the last century.

The Himalayas, a vast natural barrier steeped in holiness and myth, are home to the legendary Beyul, or "hidden valleys". Among these there is the Zanskar Valley, now threatened by climate change.

No synopsis available yet.

Fernanda Wittgens joined the Brera Museum in 1928, and after a few years she was its director. Courageous and visionary, during the war she saved artworks from the bombings, aided political opponents of Fascism and Jewish families in fleeing the regime, and was imprisoned for her actions. After Italy’s liberation, she rebuilt the Brera and championed its being open and accessible to one and all. Yet despite her groundbreaking policies, she was forgotten after her death. This film seizes on that absence. Calling on the actress Sara Drago, who lends her face and voice to Wittgens in her letters, and the art historian Giovanna Ginex, the filmmakers create a collaborative space in which the past, the present, and their interpretations are intertwined. Fernanda, albeit invisible, is a living presence.

Fernanda Wittgens joined the Brera Museum in 1928, and after a few years she was its director. Courageous and visionary, during the war she saved artworks from the bombings, aided political opponents of Fascism and Jewish families in fleeing the regime, and was imprisoned for her actions. After Italy’s liberation, she rebuilt the Brera and championed its being open and accessible to one and all. Yet despite her groundbreaking policies, she was forgotten after her death. This film seizes on that absence. Calling on the actress Sara Drago, who lends her face and voice to Wittgens in her letters, and the art historian Giovanna Ginex, the filmmakers create a collaborative space in which the past, the present, and their interpretations are intertwined. Fernanda, albeit invisible, is a living presence.

​Beyond begins with Alex Bellini's 2017 Vatnajokull glacier expedition, a life-changing experience. In Jan. 2025, Alex returns to the expedition sites to seek answers and interpret the meaning of what happened eight years earlier with new eyes. Through this reconstruction, the documentary aims to contribute to universal reflection on the meaning of exploration and the concept of limits.

An urgent portrait of the people of the Zanskar valley and their struggle to survive extreme living conditions aggravated by climate change.

14 August, sunrise. In the south of Milan, the most international city of Italy, three figures wake up at dawn and are brought to work. They are the silent guardians of a great Italian agricultural tradition that has undergone profound changes in the last century.

The Himalayas, a vast natural barrier steeped in holiness and myth, are home to the legendary Beyul, or "hidden valleys". Among these there is the Zanskar Valley, now threatened by climate change.

No synopsis available yet.

No synopsis available yet.

Authentic testimonies from women in sub-Saharan Africa reveal the suffering and violence that accompany their hopeful journey to Tunisia and southern Europe. Their faces remain hidden from the camera; we see only fragments of their bodies and destinies. A chilling portrait of people who would rather risk death at sea than life in their own country.

A bronze foundry in Milan. Hands that shape, knead, model, mix, repair, sand and polish. Work carried out on matter and fire, out of which the bronze figure of a dog by artist Velasco Vitali will ultimately emerge. The Fonderia Artistica Battaglia was founded in 1913 and is one of the oldest and most important artistic foundries in Italy. It produces bronze sculptures using lost-wax casting, a founding technique that dates back to the 4th century BC and is still done in much the same way today. The film draws on a purely observational mode. It is the hands and their gestures that link us to the world and create a connecting line from the past to the present.

A bronze foundry in Milan. Hands that shape, knead, model, mix, repair, sand and polish. Work carried out on matter and fire, out of which the bronze figure of a dog by artist Velasco Vitali will ultimately emerge. The Fonderia Artistica Battaglia was founded in 1913 and is one of the oldest and most important artistic foundries in Italy. It produces bronze sculptures using lost-wax casting, a founding technique that dates back to the 4th century BC and is still done in much the same way today. The film draws on a purely observational mode. It is the hands and their gestures that link us to the world and create a connecting line from the past to the present.

A bronze foundry in Milan. Hands that shape, knead, model, mix, repair, sand and polish. Work carried out on matter and fire, out of which the bronze figure of a dog by artist Velasco Vitali will ultimately emerge. The Fonderia Artistica Battaglia was founded in 1913 and is one of the oldest and most important artistic foundries in Italy. It produces bronze sculptures using lost-wax casting, a founding technique that dates back to the 4th century BC and is still done in much the same way today. The film draws on a purely observational mode. It is the hands and their gestures that link us to the world and create a connecting line from the past to the present.

La Paz del Futuro is a film about the personal, political and artistic journey of Janet Pavone, an American muralist who joined the Sandinista revolution Nicaragua of the 1980s. Janet and her fellow muralists are today invited to restore their most monumental work almost 25 years after its completion: the Quiabu mural at the Esteli military base. Showing different historical moments through extensive use of archival materials and new footage, La Paz del futuro paints an "on the road" portrait of what remains of a series of murals and a revolution, and at the same time proposes a reflection on public art, politics and the passage of time: a look to the past from the future.

A portrait/self-portrait of Gillo Dorfles as seen through his favourite objects: in an intimate, gentle narrative, hanging inside a home, his home – a space both real and symbolic, mental and physical. GilloDorfles talks about the things he holds most dear, a mix of historical and artistic culture and everyday objects, family mementoes and original sculptures, memories and insights. It is an attempt to give shape, image and sound to the monumental intangibility of Gillo Dorfles’ thoughts, memories and desires.

In an unspecified future, in unspecified woods, some solar-powered camera devices, left by documentary filmmakers, are activated with motion sensors. The documentary filmmakers are dead, almost all humans on the planet are dead, and the animals are alive. A man, now facing the end of his species, sends a voicemail to his best friend for the first time. The camera devices keep rolling.

In an unspecified future, in unspecified woods, some solar-powered camera devices, left by documentary filmmakers, are activated with motion sensors. The documentary filmmakers are dead, almost all humans on the planet are dead, and the animals are alive. A man, now facing the end of his species, sends a voicemail to his best friend for the first time. The camera devices keep rolling.

Francesco resumes his world as if it were a sheet on which Hana can draw: a dialogue between friends in a movie game.

A mysterious artifact, taken from a collection of unusual relics from the past, is meticulously examined by a team of specialists. It appears to be a futuristic sculpture, but we discover it's actually a scientific instrument. The film follows, step by step, the restoration of a 1950s particle accelerator at the National Museum of Science and Technology in Milan. We observe the restoration of materials, surfaces, and valves, as memories and gestures are recovered. It's a collective ritual: restorers, curators, and former users of the machine work to transform a "thing," taken from the everyday life of a laboratory, into a museum "object," the custodian of diverse stories .

A short documentary, inspired by Eduardo Galeano: a short trip in rhythms, sounds and atmospheres in a cuban cigar factory in Estelí, Nicaragua.

Giancarlo Vitali, 88 years old painter. This film is a portrait of his daily "battles".