Sara Cecconi

Kath, an Italian-Filipino woman, works remotely as a digital content moderator in Genoa. When she learns that a colleague in the Philippines has taken his own life—crushed by the very job that fills her own days (the endless cataloging of beheadings, torture, live-streamed suicides, and child abuse)—she initially takes two days off, then extends her break, no longer convinced she can bring herself to return to her terminal. A massage appointment introduces her to Jenny, a Filipino woman who tends to people's bodies as a side job. That scheduled hour evolves into something more—an encounter neither woman expected. Each carrying her own burdens and losses, they finally find a way, together, to stop being invisible. The screen, once capable only of wounding them, now reflects a new image: a redemptive possibility for healing.

On the evening of March 12, 1981, in the Rai Due studios, Marina Morgan announces that the program A.A.A Offresi, a film about prostitution, it will never be broadcast “at the formal invitation of the president of the parliamentary steering and oversight committee.” This time, however, his announcement is interrupted by a group of military men, wearing ski masks, who barged in the studio to read live on national tv the script of the censored film, convicted as the “body of evidence”.

No synopsis available yet.

No synopsis available yet.

Kath, an Italian-Filipino woman, works remotely as a digital content moderator in Genoa. When she learns that a colleague in the Philippines has taken his own life—crushed by the very job that fills her own days (the endless cataloging of beheadings, torture, live-streamed suicides, and child abuse)—she initially takes two days off, then extends her break, no longer convinced she can bring herself to return to her terminal. A massage appointment introduces her to Jenny, a Filipino woman who tends to people's bodies as a side job. That scheduled hour evolves into something more—an encounter neither woman expected. Each carrying her own burdens and losses, they finally find a way, together, to stop being invisible. The screen, once capable only of wounding them, now reflects a new image: a redemptive possibility for healing.

On the evening of March 12, 1981, in the Rai Due studios, Marina Morgan announces that the program A.A.A Offresi, a film about prostitution, it will never be broadcast “at the formal invitation of the president of the parliamentary steering and oversight committee.” This time, however, his announcement is interrupted by a group of military men, wearing ski masks, who barged in the studio to read live on national tv the script of the censored film, convicted as the “body of evidence”.

No synopsis available yet.

No synopsis available yet.