Elisa Fuksas

After a deadly car accident, a camera’s super zoom becomes the director’s eye, wandering through a summery Rome in search of his lover for a last goodbye.

A personal documentary shot on a mobile phone during lockdown, in which the director reflects on her own illness and isolation, and on how storytelling can be a way of overcoming one's own fears.

A timeless spa town, a 1940s hotel, a place that transports the present to who knows where. Not the past, Ornella Vanoni's life, but the revelation—current—of her intimacy, exhibited through a relationship: her relationship with the director. The energy, the character, the music, the confrontations, the heat, the fatigue. Everything is filmed without sparing anything, not even the arguments between Ornella and Elisa. The film goes along with what Ornella naturally generates and bends to the unexpected, to the present. And then there are the encounters with friends, musicians, Vinicio Capossela, Samuele Bersani, Paolo Fresu's trumpet resounding in the empty spaces of the grand hotel where, between identical days marked by care and treatment, the story, the memory, but also the future take shape as Ornella prepares to become a fantastic creature made of voice and dreams, destined for eternity.

The contemporary architecture of Rome are at the heart of the beautifully shot and winsomely appealing Nina, which charts the oddball escapades of a young woman in a depopulated Rome during one hot summer. This heartwarming tale of a lonesome girl who teaches singing and dog-sits during her holidays on the outskirts of Rome. Its striking cinematography evokes Nina's indefinable anxiety. By opening herself up to life she conquers a vision of her future full of imagination and beauty.

The contemporary architecture of Rome are at the heart of the beautifully shot and winsomely appealing Nina, which charts the oddball escapades of a young woman in a depopulated Rome during one hot summer. This heartwarming tale of a lonesome girl who teaches singing and dog-sits during her holidays on the outskirts of Rome. Its striking cinematography evokes Nina's indefinable anxiety. By opening herself up to life she conquers a vision of her future full of imagination and beauty.

A timeless spa town, a 1940s hotel, a place that transports the present to who knows where. Not the past, Ornella Vanoni's life, but the revelation—current—of her intimacy, exhibited through a relationship: her relationship with the director. The energy, the character, the music, the confrontations, the heat, the fatigue. Everything is filmed without sparing anything, not even the arguments between Ornella and Elisa. The film goes along with what Ornella naturally generates and bends to the unexpected, to the present. And then there are the encounters with friends, musicians, Vinicio Capossela, Samuele Bersani, Paolo Fresu's trumpet resounding in the empty spaces of the grand hotel where, between identical days marked by care and treatment, the story, the memory, but also the future take shape as Ornella prepares to become a fantastic creature made of voice and dreams, destined for eternity.

Loving girlfriend, family fortune, breakout movie role: he's got it all. Until an app awakens a powerful new yearning. While in Rome to shoot his first movie, actor and industrial heir Niccolò becomes obsessed with the dating app "US" that sends him into a self-destructive spiral.

Loving girlfriend, family fortune, breakout movie role: he's got it all. Until an app awakens a powerful new yearning. While in Rome to shoot his first movie, actor and industrial heir Niccolò becomes obsessed with the dating app "US" that sends him into a self-destructive spiral.

A personal documentary shot on a mobile phone during lockdown, in which the director reflects on her own illness and isolation, and on how storytelling can be a way of overcoming one's own fears.

A personal documentary shot on a mobile phone during lockdown, in which the director reflects on her own illness and isolation, and on how storytelling can be a way of overcoming one's own fears.

A personal documentary shot on a mobile phone during lockdown, in which the director reflects on her own illness and isolation, and on how storytelling can be a way of overcoming one's own fears.

Giada and Carlo are a couple with great complicity and intimacy, while each of them pursues their own career with determination. The young and ambitious Peter fascinates Carlo, who introduces him to the family. However, when Giada sees Peter, she has an unexpected reaction and tries in every way to remove him from their home: he could bring out some unspeakable secret from her past. And yet, the truth always finds a way to come out.