All Films

Everyone remembers the hollow left behind by the disappearance of human life. The melancholy—and the need—for everyday urban chaos. The frantic movements, the endless lines, the absurd traffic that, once gone, ended up magnifying an entire chapter of our history. It was a time when truth shrank into moments of stillness, slipping easily into the possibility of being false. A time when truths—and the debates built around them—had to be kept intact, even when their fragility was obvious. That same tension lingers in the road lines that open the film: directions without destinations, paths that lead nowhere. It grows stronger in the elegiac soundtrack that frames a vertical cityscape, where oversized statues stand as the only living witnesses of a frozen public space. Two figures step into this setting. They move forward carrying the weight of uncertainty—born from the emptiness below them and the edges that hold them up. Against the void, against the illusion, they run, nameless and unseen. 
And yet they reach another place, where they finally emerge—descending into the underground of a crowd that seems, somehow, to have been waiting for them…

It's about a man who feels guilty and made a fictional cell in his mind for himself

El ser humano no morirá de apocalipsis zombie ni de tormenta solar...su propia estupidez acabará con él.

Kiana is a 9-year-old girl who, during the recent political upheaval in Iran, witnessed the arrest of her mother by military and security forces. Following this event, she becomes severely traumatized and discovers that she can create changes in her surroundings with the magical powers of her drawing notebook.

Solstice, our neighbourhood psychic medium, receives an unexpected visitor in this under-5-minute comedy.

Hélène is pregnant. Having lost her parents as a child, she chooses to write a book for her future daughter, to explain the world where she arrives, and what it is like to be queen of Atlantis.

It is about a street sweeper who works at night and is unwillingly drawn into the games of a group of privileged young men

In the vibrant heart of Senegal, among the submerged roots of the mangroves of Joal-Fadiouth, lies a treasure as ancient as it is fragile. It is not gold in the traditional sense, but an ecological, cultural, and human heritage that sustains entire communities through a delicate balance between people and nature. “The Gold of the Mangroves” is a documentary that unfolds without filters or staging. Every image on screen is real, lived, and observed with deep respect by filmmakers Carlo Loglisci and Matteo Capatti, who chose to follow the daily work of the association AGIRE without ever interfering, allowing the truth of the environment to emerge with clarity and empathy. Through evocative visuals, spontaneous interviews, and sequences that embrace the authentic rhythm of local life, the documentary guides us on a journey across some of the region’s symbolic places: — the vibrant market of Joal-Fadiouth, a hub of exchanges and traditions; — the striking village of Palmarin; — the poetic and moving Christian-Muslim cemetery of Fadiouth, an island built entirely of seashells, symbol of memory and peaceful coexistence; — and Dakar, the capital, a crossroads of contradictions and aspirations for a nation in transformation. At the core of the story is the daily work of AGIRE and its members, who carry out concrete and essential activities with passion and perseverance: — the production of mangrove honey, a sustainable source of income; — the harvesting of shellfish, still vital for the livelihood of local families; — the protection of marine ecosystems; — the reforestation of mangroves, a natural barrier against the advance of climate change; — ecological and social education for young people, building a future-oriented environmental awareness. The documentary accompanies the viewer through this complex and ever-evolving world without imposing an external voice or a predetermined narrative. Reality itself is allowed to speak—through gestures, faces, silences, and the contradictions of a people striving every day to reconcile tradition with modernity. “The Gold of the Mangroves” restores dignity to stories too often pushed to the margins and raises an urgent, universal question: How can we protect what remains—and do it together?

With the film industry in decline, BJÖRN (50), a seasoned first assistant director, finds himself unemployed and adrift. To stay afloat, he takes a temporary job as a school photographer—an unfamiliar and humbling role. Over the course of one long day, Björn’s fragile calm is tested by a string of phone calls from his mother, his teenage daughter, and his ex-wife. Each conversation pulls him further off balance, and the tension begins to seep into the portraits he takes. As his professional façade starts to crack, an unexpected encounter with a P.E. teacher at the school offers a brief moment of understanding—and a hint that change might still be possible.

Clyde is just out on parole and living at his friend David's house makes himself a delicious cooked breakfast and hides the fact from Lottie (David's daughter) by pretending he has in fact made it for David.

Humorously expressing my disdain for the N-word...while sharing my love for Black History/ and the desire for people to do deeper research and get involved to make positive changes......

In a quiet corner of Brooklyn, two strangers find their lives briefly colliding at a gas station. One is a woman silently enduring the trauma of an abusive marriage; the other, a man living under the constant threat of deportation, hiding in the shadows of a broken immigration system. As ICE agents patrol nearby, the weight of their unspoken fears draws them into a moment of unexpected connection, a fleeting but profound reminder of shared humanity in a city that rarely slows down.

Following the exceptional acclaim for his “AYE” tetralogy, 2021-2024 (over 140 international awards), Philpott undertakes the first ever complete filmic interpretation of Proust's monumental “À la recherché du temps perdu”, with rich narrative forms reflecting the wide range of voices in the novel, providing a visual feast with sonic immersion, to reveal the vast panoramic structure of Proust's masterwork and provide a new 21st century foundation for this timeless 20th century epic. "We feel in one world, we think, we give names to things in another; between the two we can establish a certain correspondence, but not bridge the interval. It was quite narrow, this interval, this fault that I had had to cross." - Marcel Proust un tour autour de la tête de Proust - reminiscences from "Remembrance of Things Past" PART ONE (UK 2026, 4k digital, 55 minutes) PART TWO (UK 2026, 4k digital, 87 minutes) PART THREE (UK 2027, 4k digital, 102 minutes) PART FOUR (c 120 minutes; 2027) PART FIVE (c 100 minute; 2027)

After a quiet day at the beach, a couple is forced to acknowledge an ending neither of them is ready for. As the light fades and the tide turns, small gestures and unspoken looks carry the weight of what cannot be said. Guided by a poem from Anna Hoghton, the film is a meditation on love, longing, and the ache of saying goodbye.

Inside a dirty, time-frozen kitchen, a troubled young man confronts his own alter ego: a sharp, sarcastic and relentless presence that forces him to face his fears. Through provocation, brutal honesty and unsettling metaphors, the protagonist realizes that his hesitation isn’t keeping him safe—it’s slowly erasing him. In a psychological duel with no escape, he’s pushed toward the hardest decision of all: keep living as a spectator or finally take control of his own story.

Brother and Sister - same Satan (Water and Wind) is an evolved version of Brother and Sister - same Satan (She hadn't... He woudn't...) that I had been filming during workshop of 6th Queer Filmmaking Atelier of Queer Voices Festival in 2023. Back then, for the first time, I told a story of me and my dead sister, what she hadn't become and what I wouldn't become. It was about a connection between us, her influence, our similarities, queerness. It was a dialogue. I presented an idea that the dead keep being present and on a rise of fascism and era of non-truth, it could be a bridge to reality and origins in a wider socio-political context. Brother and Sister - same Satan (Water and Wind) is a confession to the dead about what happened after their passing. It is a conflicted between remembering the dead and seeing the living. It is an example of the fight between "the idea" (death) and "the fact" (living person) The movie is a journey from hatred, resentment, grudge to acceptance, mourning, love. The film doesn’t aim to give a conclusion nor concrete resolution-ending to the event and conflict. In my opinion, the repetitive bugging thoughts and speculations stay forever because there is no resolution-ending without the voice of the other side, the presence can only offer an acceptance and moving on. *Brother and Sister - same Satan (ukr/rus) - rephrase of “Husband and Wife - same Satan” made and constantly repeated by my sister that means together as one, bonded, the same. *Water and Wind - the name comes from zodiac signs: Scorpio and Gemini" * The narration in the movie is in three languages: Ukrainian, Russian and English to show three points in life: adulthood (Ukrainian), childhood-adolescence (Russian) and finding myself in an art field (English)

A man searches for toys in the trash and after cleaning and restoring them he returns them to needy children through a toy library

Lua, a 30-year-old man, remembers an event that shook his life 20 years ago. He tries to go on with his day until he is approached by a person from his past

Short film "Polar Kinships" is a story about belonging, about continuity. It is a story that celebrates the voices of two indigenous, nomadic sea peoples from the opposite ends of the world, the Kawésqar from Chile and the Iivi from East Greenland. The short film illustrates and tells the story of -to our knowledge- the first connection between these two communities, on a joint voyage taking place on sailing ship Byr in the fjords of East Greenland.

A grotesque short film that stages a reversal of roles, where violence turns intro spectacle and power shifts, revealing the ambiguous nature of gaze and representation.

Two workers from an industrial corporation are sent to investigate the loss of contact with one of the extraction towers. Upon arrival, they discover that all 17 operators have disappeared. After reporting this to headquarters, they decide to send a specialist to investigate what is hidden beneath the main reactor...

Wahid Najjar is a man who desperately wants to protect what is left of his family, already decimated by the loss of several children from the merciless bombs from a relentless enemy raining down deaf daily from the skies. His two remaining children, Ahmed, age 11, and daughter Samar age 9 fight to survive in a place where death is a daily reality. Food is scary but one day somewhere find some bread, so there is a brief respite for celebration. But such rebels are short-lived as another bombing attack kills Ahmed and severely wounds the little girls Samar heartbroken, Wahid is determined to see his young daughter survive; he calls upon a local doctor, who unfortunately tells the tortured father that Samara will have to have her leg and foot cut off less she will die. Most terrific of all the amputation will have to be accomplished without anesthetic. Some are the little girl screws her young courage to the post and endure the agonizing operation with Wahid always at her side. When all is said and done, Samara declares with fervent conviction: “my foot is in heaven now.“