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Soon thereafter the young elephant became a part of his family and Joyram started to treat her like his own daughter. He named her ‘AADOR’, in Bengali which means ‘THE DEAREST’.
In a zamindar’s house an elephant has to perform many duties like collecting taxes, giving joyride to the zamindar and his family at times, specially in big occasions like during Pujas by taking part in the immersion rallys etc , to glorify the zamindar’s stature. While in Joyram’s house ‘AADOR’ used to roam around in the village as she had no extra work and entertained local boys and girls. Her friendly nature thus made her the attraction of the villagers.
In this way five years passed by and now the Joyram, the village lawyer is retired. He now has the responsibility to get his grand-daughter married. A good marriage proposal came from a very rich family. But they have asked for dowry of ten thousand rupees. Joyram falls in trouble as he presently doesn't have enough money to bear such expenses of the marriage neither he could ignore such a marriage proposal for his grand-daughter. He tries his best to arrange the money hoping something would work out. But all in vain. A relative of him then suggested to sell the elephant who seems almost useless in the household. The suggestion was like a ‘bolt from the blue’ to Joyram. Not even in his wildest dreams he had ever thought of selling his foster daughter ‘AADOR’ for money. But gradually under the pressure of his family, the situation compels him to sell his darling ‘AADOR’.
The outcome turns out to be an heart-breaking one. The estrangement makes both of the father and his foster daughter, ‘AADOR’ ill and subsequently both of them die.
In the village silence starts to loom large benumbed at the fate of the affectionate relationship between the father and the daughter, a man and his elephant.
Dirty Fears - After an escaped mental patient takes possession and care of a mysterious mountain motel, what was once a place for rest and relaxation becomes a place of nightmares.
EST – DITTATURA LAST MINUTES 1989. A few weeks after the fall of the Berlin Wall, Pago, Rice and Bibi, three twenty-five-year-old boys, leave the peaceful Cesena in search of adventure: a ten-day vacation in Eastern Europe, towards those places where the Soviet regime is still present. Once in Budapest they meet Emil, a Romanian fleeing his country because of the dictatorship. The man, worried about his family left in Romania, asks for the help of the three young men. The task is to carry a suitcase to his wife and daughter. During the long journey, between deserted villages, restaurants without food and people willing to give everything they have to appear hospitable, the three finally reach the capital. The opening of the luggage in front of his wife Andra, his six-year-old daughter Adina and grandmother Costelia, arouses great emotion. Two months later it's almost Christmas. The news announces the end of Ceausescu's regime. Pago, Rice and Bibi are back to their usual lives in Italy. DIRECTOR'S NOTES: When I first read the stories of Maurizio Paganelli, Andrea Riceputi and Enrico Boschi , I understood that this was the right story to tell today. At a time when an individualistic society doesn't seem to have the time to reach out to others, the time has come to stop, take a small step back and reflect. [...] Italy, like the rest of the world, pretends not to know what the past and present of the Romanian state is. With the cinematographic medium it is instead possible, through the eyes of three young Italians, to retrace the paths of history in a universal story, a metaphor on how little is needed for the point of view to change. A vision of how what we take for granted every day, for a large part of the world's population, is just a large buffet that can be admired from the last row on tiptoe.
Re minore – Music is the beating heart of the story involving Mimí, an experimental musician who has returned to Sicily to renew his art. In the artistic confrontation between the protagonist Mimì and Corona, his old music teacher, the metaphor of the double soul of Sicily is triggered, the ancient and the modern one. From this arises the incessant contrast between the search for the true essence of music starting from the pulsating soul of the material and the traditional schemes traced on an art that remains anchored to the old technicalities.
ALTRI PADRI Giulio, who lives in the car after the separation, is stopped by the police who find a large amount of cocaine in his car. This happens after Giulio has separated from Annalisa having discovered her adultery. After leaving the house owned, his ex-wife made it increasingly difficult for him to see the children and when Giulio denies the woman permission to travel to the USA, for work, together with her new partner and children, Annalisa accuses him of being violent and for this he is asking for a restraining order against him. A dramatic hearing will confirm the measure. Giulio is stopped and arrested soon after. In prison, however, something in him generates the necessary reaction to rediscover social relationships with prisoners and prison institutions and to glimpse a new horizon. A year and a half after his entry into Rebibbia, the policewoman who arrested him asks to see him. It is the beginning of an evolution of his personal story that will lead to an unexpected twist. DIRECTOR'S NOTES: When Gianluca Cerasola asked me to direct Other Fathers, what seemed of great interest to me was the study of what happens when a long-standing love story ends: the trauma is so profound, especially when a family with children, to push both to try to save themselves from pain and material consequences. Actually, getting to know the film better – films, as the great post-war Italian directors said, at a certain point take on a life of their own and take you where they need to go – I discovered that there were other, equally interesting nuances.
For example, the role of women. Annalisa, the protagonist, played by Chiara Francini, seems like an unscrupulous character: I actually wrote for her what, in my opinion, is the decisive line of the film. "Love is not enough". The world of men has built the subordination of women by assigning them the monopoly of feelings and affections: as if professional ambitions, personal projects, the most creative dreams of realization belonged only to men. She annalisa believes she has a talent, a particular sensitivity for the aesthetics of furnishings and costumes but neither her husband (who offers him job opportunities similar to hers), nor her father (who pushes her towards a law degree does more or less the same as her), seem to be able to notice it. Annalisa is looking for her place in the world and she understands that only by separating will she have any chance of finding it. She may appear ruthless, but I, and my film too, have learned to appreciate both her steadfastness and her lucidity: looking at her shares her tremors, rather than judging her. In some ways it is as if the film were re-reading the world of Kramer against Kramer today.
To conclude, when I read the screenplay I thought that the conflict between Annalisa and Giulio, their pain, was the center of gravity of the film, but I soon realized how important the moment in prison was (with the producer we have a lot fought to actually shoot in Rebibbia ) and how much the thriller and crime ending could allow the viewer to re-read the idea of relationship, family, fatherhood in a more complex and multiple way. Other fathers, from this point of view is a noir melodrama that wants to start from the realism of a social condition to get to the cinema and its power to make us understand things with more meaning than the world.
SELFIEMANIA Cell phone, mobile phone and finally smartphone Different names for the same device that, since 2011 has evolved to the point of change the evolution and existence of the same human race Connection tool and instrument of solitude, matrix of ostentation and deep insecurity, exaltation of sensuality and maker of the generational complex, nest of sin And if sin is what darkens the soul, here are five stories of darkened souls True contemporary stories, chronicles of intense characters, of complex psychologies A subtle and penetrating plot that welcomes an irreversible alternation of the mind, with its emotions and thoughts. Uno smartphone, il nostro inseparabile alter-ego, va molto oltre uno strumento di connessione. Rappresenta l'accesso alla comunità senza confini. Però, l'uso maniacale dei selfie, ti può far precipitare in situazioni imprevedibili e incontrollabili...