Monica Stambrini

One night in the life of Italian porn star Valentina Nappi.

Martino is practically a man when, during an eye test, the optometrist and his mother discover that he never saw things quite in the same way they have.

No synopsis available yet.

A man and a woman meet at a party and decide to retire to a nearby forest. After the first difficulties of the man to get an erection, the woman leaves. He follows her but finds a strange creature with a monstrous appearance.

Fiery, dark-haired Stella, an intense auto mechanic, and nervous, blonde Eleonora are young and in love. They operate a gas station peacefully, until Eleonora's mother appears and voices her disapproval of their romance.

The choral work of 57 directors and filmmakers who tell stories of Milan at the start of the COVID-19 pandemic.

One night in the life of Italian porn star Valentina Nappi.

Martino is practically a man when, during an eye test, the optometrist and his mother discover that he never saw things quite in the same way they have.

Martino is practically a man when, during an eye test, the optometrist and his mother discover that he never saw things quite in the same way they have.

No synopsis available yet.

A man and a woman meet at a party and decide to retire to a nearby forest. After the first difficulties of the man to get an erection, the woman leaves. He follows her but finds a strange creature with a monstrous appearance.

Fiery, dark-haired Stella, an intense auto mechanic, and nervous, blonde Eleonora are young and in love. They operate a gas station peacefully, until Eleonora's mother appears and voices her disapproval of their romance.

Fiery, dark-haired Stella, an intense auto mechanic, and nervous, blonde Eleonora are young and in love. They operate a gas station peacefully, until Eleonora's mother appears and voices her disapproval of their romance.

The choral work of 57 directors and filmmakers who tell stories of Milan at the start of the COVID-19 pandemic.

When, at the age of fifty-five, Isabella Ducrot, whose real name was Antonia Mosca, decided to become a visual artist, no one, not even Ducrot herself, ever dreamed that today, at ninety, she would be the darling of art galleries the world over. The film Tenga duro signorina! Isabella Ducrot Unlimited follows her activity for two years, both her achievements internationally and her private sphere.

When, at the age of fifty-five, Isabella Ducrot, whose real name was Antonia Mosca, decided to become a visual artist, no one, not even Ducrot herself, ever dreamed that today, at ninety, she would be the darling of art galleries the world over. The film Tenga duro signorina! Isabella Ducrot Unlimited follows her activity for two years, both her achievements internationally and her private sphere.

Making of documentary of Bernardo Bertolucci's Io e Te.

In the midst of a personal and professional crisis, I begin to film everything obsessively: my parents, grandparents, children, friends, lovers, myself and psychotherapy. Some of the footage is consensual, some is "stolen" and some is footage taken over a lifetime, seemingly with no other purpose than to look at me: who am I? By putting all this material together, the personal-intimate becomes narrative: my recent break-up, my parents' break-up, my inadequacy as a mother. The result is a kind of intimate diary that, in becoming public, is perhaps obscene. But where are the boundaries between what should remain private and what can be shared? Even more so today?

In the midst of a personal and professional crisis, I begin to film everything obsessively: my parents, grandparents, children, friends, lovers, myself and psychotherapy. Some of the footage is consensual, some is "stolen" and some is footage taken over a lifetime, seemingly with no other purpose than to look at me: who am I? By putting all this material together, the personal-intimate becomes narrative: my recent break-up, my parents' break-up, my inadequacy as a mother. The result is a kind of intimate diary that, in becoming public, is perhaps obscene. But where are the boundaries between what should remain private and what can be shared? Even more so today?