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Midway through “The Ties,” a long-absent father and his estranged young son realize they have an unlikely thing in common: They both tie their shoes in an unconventional way that draws light mockery from others. The boy must have learned it from his dad, though neither can remember when; now, as they scarcely know each other anymore, it’s the one literal tie that binds them. The original Italian title of “The Ties” is “Lacci,” which translates more specifically as “shoelaces,” and it better evokes where the strengths of Daniele Luchetti’s freely time-skipping domestic drama lie: in conveying the more banal everyday details, incidents and anecdotes that become, over time and often subconsciously, the very fabric of family history. When it reaches for grander metaphors and emotional gestures, on the other hand, Luchetti’s film comes a little undone.

As the first homegrown production in 11 years to be selected...

In what is being touted as a first, the Venice Film Festival’s opening ceremony is streaming live this evening in roughly 100 Italian movie theaters, followed by the fest’s opening film, Daniele Luchetti’s “The Ties.”

The film’s distributor, 01 Distribution, is previewing “The Ties” in cinemas across Italy as a double bill in conjunction with the fest’s opening ceremony.

“It’s the first time this has ever been done anywhere in the world,” says 01 Distribution chief Luigi Lonigro, who devised this marketing strategy in tandem with fest organizers in the spirit of Venice’s symbolic significance as a restart moment.

Luchetti, a veteran helmer whose “Our Life” and “My Brother Is an Only Child” years ago launched from Cannes, had submitted “The Ties” to Cannes earlier this year. But when he did so the film was not completed, since the pandemic had forced him to interrupt editing.

In a first for an Italian movie in over a decade, Daniele Luchetti’s Lacci has been set to open the Venice Film Festival’s 77th edition on September 2. The drama is based on the novel by Domenico Starnone and stars Alba Rohrwacher, Luigi Lo Cascio, Laura Morante, Silvio Orlando, Giovanna Mezzogiorno, Adriano Giannini and Linda Cadri. It will screen out of competition.

Venice runs from September 2-12 on the Lido with the full lineup due to be announced next week. This is the first major international film event since the coronavirus pandemic began. Although it’s been a while, it’s not terribly surprising that an Italian movie has been designated to open the proceedings as a tribute to the country’s rich cinema history and recent strength — it may also be indicative of a lack of major available Hollywood titles, particularly given that travel restrictions could still be in place in early September.

14th Mumbai Film Festival (Mff) announced its complete lineup today in a press conference. Mff will be held from October 18th to 25th at the National Centre for the Performing Arts (Ncpa) and Inox, Nariman Point, Liberty Cinemas, Marine Lines as the main festival venues and Cinemax, Andheri and Cinemax Sion as the satellite venues. Click here to watch trailers and highlights from the festival.

Here is the complete list of films to be screened during the festival (October 18-25)

International Competition for the First Feature Films of Directors

1. From Tuesday To Tuesday (De Martes A Martes)

Dir.: Gustavo Fernandez Triviño (Argentina / 2012 / Col. / 111′)

2. The Last Elvis (El Último Elvis)

Dir.: Armando Bo (Argentina / 2012 / Col. / 91′)

3. The Sapphires

Dir.: Wayne Blair (Australia / 2012 / Col. / 103′)

4. The Wall (Die Wand)

Dir.: Julian Pölsler (Austria-Germany / 2012 / Col. / 108′)

5. Teddy Bear (10 timer til Paradis)

Dir.: Mads Matthiesen (Denmark / 2012 / Col. / 93′)

6. Augustine

Dir.: Alice Winccour (France / 2012 / Col.

Mythological Story of My Family (a.k.a. Storia mitologica della mia familia) to star Kim Rossi Stuart in Daniel Luchetti-directed autobiographical film The film set in 1968 Rome during summer, follows the breakup of a couple of from different backgrounds, after the woman falls for another woman. Apparently the story is told from the ten-year-old son's point of view. Ouch! Not something I'll be watching with having my own kids. Stefano Rulli and Sandro Petraglia are scripting based on Luchetti's real family life, reports Variety. ThinkFILM released the helmer's 2007 film My Brother is an Only Child, which won numerous European awards...

Mythological Story of My Family (a.k.a. Storia mitologica della mia familia) to star Kim Rossi Stuart in Daniel Luchetti-directed autobiographical film The film set in 1968 Rome during summer, follows the breakup of a couple of from different backgrounds, after the woman falls for another woman. Apparently the story is told from the ten-year-old son's point of view. Ouch! Not something I'll be watching with having my own kids. Stefano Rulli and Sandro Petraglia are scripting based on Luchetti's real family life, reports Variety. ThinkFILM released the helmer's 2007 film My Brother is an Only Child, which won numerous European awards...

Despite their renown, some famous films are able to surprise new generations of filmgoers. A first-time viewer of The Graduate might only know of the character of Mrs. Robinson, familiar from the Simon and Garfunkel song written specifically for the film. The name and song have also been used as shorthand in other movies involving relationships between younger men and older women: My Brother is an Only Child (Daniele Luchetti, 2007), or American Pie (Paul Weitz, 1999), for example. For Taxi Driver (Martin Scorsese, 1976), it is the iconic image of Robert De Niro in the driver’s seat of the cab, and above all the famous line, ‘You talkin’ to me?’. Unlike Mrs. Robinson, though, these elements give little clue to the film’s content. A romance between people of different ages offers a clear story premise. But faced with a cocky cabbie, the viewer can’t predict where the narrative will go.

Loose Cannons (Mine Vaganti, Ferzan Ozpetek) is an Italian comedy about Tommaso (Riccardo Scamarcio), a young man who returns home planning to announce to his family that he is gay. However, his older brother Antonio beats him to it: he has been hiding his own homosexuality, and makes his announcement first. Both brothers want the freedom to openly live the lives they desire, and the younger brother wants to avoid the responsibility of running the family pasta factory. After his father’s reaction to Antonio’s announcement, however, it begins to look like he will be stuck with the family business forever.

If Loose Cannons were a consumer product, it would be among the luxury goods: soft leather, polished wood, and fine, hand-crafted details. And yet unlike most luxury items, the film is comfortable and unpretentious: you feel almost immediately at ease with it. And the pleasure of Loose Cannons...

The Vancouver International Film Festival is my baby. In its 29th year, this is the event I look forward to every year. The lists I've kept through the year come out and I eagerly look through the list of titles in search of those little gems and every year Viff responds with a huge assortment of titles. This year's festival is no different.

Some of the titles we're most eagerly anticipating include Tsumetai Nettaigyo’s Cold Fish (trailer), Gareth Edwards’ Monsters (trailer, review), Jo Sung-Hee’s apocalyptic road movie End of Animal, Carl Bessai’s Repeaters (trailer) and Xavier Dolan's Heartbeats (trailer, review).

There's loads more so be sure to check the titles (so far) after the break. Many more to be announced in the coming days.

Canadian Images

Altitude (Kaare Andrews), B.C.

View trailer

A weekend getaway aboard a small plane turns deadly for a rookie pilot and four teenage friends.

The European Film Promotion (EFP) and the San Sebastian International Film Festival (September 18-27) launched a new promotion initiative entitled "European Distributors: Up Next".

Ten independent distributors from Central and Eastern Europe attending the festival discussed the possibilities of theatrical distribution on a European level. Since the majority of European producers do not cross national borders, the meetings in San Sebastian were aimed to create possible platform and networking opportunities to improve the circulation of European productions.

• From Slovenia, Natasa Bucar, project manager of the cultural center Cankarjev Dom, a public institution that organizes many events promoting film, including the Ljubljana International Film Festival has been in art film distribution for the last 15 years. They distribute five to six titles every year to fill the gap in theatrical distribution of European high-profile films in Slovenia. Priority is given to established and not always well-known European and other international filmmakers. Their last distributed titles were Neil Jordan’s ‘Breakfast on Pluto’, Tony Gatlif’s ‘Transylvania’, Bent Hamer’s ‘Factotum’, Dagur Kari’s ‘Dark Horse’, Corneliu Porumboiu’s ‘12:08 East of Bucharest’, Roy Andersson’s ‘You, the Living’, Pascale Ferran’s ‘Lady Chatterley’, Marjane Satrapi’s ‘Persepolis’ and Shane Meadows’ ‘This Is England’.

Besides Cankarjev Dom, there are only four arthouse cinemas in Slovenia. They need more along with arthouse cinema networks to enable better film promotion. In Slovenia, like everywhere in Europe, the number of cinema viewers has fallen drastically. Audiences focus on fewer films, the top 20 films take up to almost 50% of the market in Slovenia.

• From Hungary, Rita Linda Potyondi of Cirko Film - Másképp Foundation, the only Hungarian distributor to operate as a non-profit-foundation, they also own one theater in Budapest. Working on a showstring budget, they are guided by personal tastes and focus on international and particularly European ‘difficult’ auteur films with targeted or limited audiences, especially those that explore themes related to discriminated groups: homosexuals, handicapped people, ethnic or religious minorities and victims of family abuse. Their last releases include films by Robert Guédiguian, Bruno Dumont, Fernando Leon de Aranoa, Baltasar Kormakur, Alain Corneau, Bruno Podalydès, Bertrand Bonello, Claire Denis, Ferzan Ozpetek, Catalin Mitulescu and Oskar Roehler. A recent surprise success was Anders Thomas Jensen’s ‘Adam's Apples’ which became a sort of cult film. They also did well with Palme d’Or-winner ‘4 Months, 3 Weeks and 2 Days’, and ‘Persepolis’, Susanne Bier’s ‘After the Wedding, ‘Red Road’, ‘My Brother Is An Only Child’, ‘A Soap’, ‘Our Daily Bread’. Upcoming are the Luc and Jean-Pierre Dardenne's ‘Lorna’s Silence’, Gustave de Kervern and Benoit Belepine’s ‘Louise Michel’, Nic Balthazar’s ‘Ben X’, Simon Staho’s ‘Heaven’s Heart’, Ole Christian Madsen’s ‘Kira’s Reason’, Josef Fares’ ‘Leo’, Anders Thomas Jensen’s ‘The Green Butchers’ and ‘Flickering Lights’, and Ole Bornedal’s ‘Just Another Love Story’.

• Czech distributor Artcam’s Managing Director Premysl Martinek knows he is fighting an uphill battle. In 2007 combined total admissions for Artcam's films were under 50,000 — 0.4 percent of the national total. By comparison, leading distributor Falcon drew more than 4,000,000 viewers with its films, nearly a third of the market. However Martinek is convinced there is room in the market for small distributors and is interested in the shared challenges, from the opportunities offered by digital distribution and video-on-demand to how to negotiate with producers on minimum guarantees. The main problem is cultivating an audience. “It's very different from in Holland or Germany, where there are audiences for arthouse films,” he says.

Most of Artcam's target market is in Prague, home to roughly 1,000,000 people where European film is largely restricted to a handful of single-screen theatres, while the city's 14 multiplexes focus primarily on Hollywood imports and successful local films.

Artcam has distributed some of the most widely heralded European films of recent years, including Ole Madsen's drama ‘Prague’, ‘Persepolis’ and ‘The Diving Bell and the Butterfly’. The international success of such films has attracted the attention of larger distributors who are now crowding the arena. This year in Cannes when they tried to acquire ‘Waltz with Bashir’, there was greater competition. Martinek says arthouse is an important part of any film culture, and lack of access to European films is hurting Czech cinema because if they lack exposure to the cinema of other countries, from new ways of narration, they cannot develop their own cinema. The Czech Ministry of Education has introduced media studies to secondary school curricula to show young people that film is “not just fun and popcorn. It's also art.”

• Polish distribution company Gutek’s Jakub Duszyński, artistic director and head of programming (along with Roman Gutek) at the Muranow movie theater also programs for the different festivals held at the theatre and for Poland’s largest film event, the Era New Horizons Film Festival in Wroclaw. A lawyer by training and a fan of Asian genre films, Duszynski has also set up a distribution company (Blink) specializing in this type of film.

Gutek Film has always been a launching pad for auteur films and has released films by Lars Von Trier, Pedro Almodóvar, Jim Jarmush and Wong Kar-Wai. Every year, they distribute two or three films not aimed solely at auteur film enthusiasts, but also at multiplex audiences. Among such titles are Tom Tykwer’s ‘Perfume: The Story of a Murderer’ and ‘Control’. Coming up are Polish features including Jerzy Skolimowski’s ‘Four Nights With Anna’, Piotr Lazarkiewicz’s ‘0_1_0’ and Katarzyna Adamik’s ‘Boisko bezdomnych’. They distribute almost exclusively European films. The box office is certainly dominated by US films, but by only a few titles which often have, interestingly, something European about them, for example they may be inspired by European literature.

• Slovakia’s Michal Drobny is marketing manager for Slovak distributor Continental Film. Slovakia sees 2,500,000 to 3,000,000 admissions in a year. A successful film for Continental is 10,000 to 15,000 admissions, as compared to one of the Harry Potter films which will have 200,000 admissions.

Continental releases 30 to 40 films a year and, thanks largely to its partnership with Warner Bros, enjoys a market share of 20%–30%. Continental also serve as Slovak distribution partners for Hollywood Classic Entertainment, which often buys rights to European and arthouse titles for several Eastern European territories at once. Continental acquires other titles through direct negotiation with the producers, usually from the Czech Republic. Drobny seldom attends festivals other than Berlin. This year is his first visit to San Sebastian.

Margins are tight for Continental, which is the second or third largest distributor in Slovakia. Continental is also a 30% shareholder in Slovak multiplex chain Cinemax, which owns nine cinemas countrywide. Continental also operated Bratislava's only arthouse cinema until it was turned into a congress hall.

Continental counts on public money for a small portion of its operating budget. The Slovak Ministry of Culture gives support up to a maximum of SKK 160,000 (€5,500) for the distribution of European films which covers the cost of two or three prints. Continental also receives funding through the MEDIA automatic support scheme, typically receiving 40 to 60 cents per admission for European films.

Drobny says this public support is welcome but it's seldom enough to make a real difference to distributors. “A print for a US title costs $300 [€210]. For a European title, the cost is $1,000–1500 [€700–1,000] for the print, plus I still need to pay for the all the marketing materials and the cost of subtitles,” he says. “We can't be surprised that American films are everywhere.”

Not surprisingly few European films secure distribution in Slovakia. Cinemax promotes European and arthouse film through its Artmax program and screens independent films once a week, sometimes for free. Current titles in the selection include ‘Good Bye, Lenin!’, ‘The Secret Life of Words’, ‘The Science of Sleep’, ‘Volver’ and ‘Angel’. In cooperation with the Embassy of Spain, Continental and Cinemax are creating a Spanish Days celebration of Spanish cinema at Cinemax locations in November.

Drobny has hopes that digital cinema will help small distributors, but believes it will be five to ten years before the major studios settle on a common format. Even then, the costs of converting screens will be challenging for the private sector. “To install one 2K digital system costs SKK 3m–4m [€100,000–132,000] and we have 37 screens, so it's a lot of money,” he says. “We'd like to invest but it will take a long time to see a return on that investment.”

• From Romania, Transilvania Film, founded by Tudor Giurgiu and currently run by Stefan Bradea is one of the successful pioneers of arthouse film distribution in Romania. At first they distributed mainly British, German and Scandinavian features but gradually turned to quality Romanian films, genre pictures, even some mainstream American movies. Their eclectic selection is targeted to the highly educated public, basically university graduates under 35. Their latest premiere was ‘Non pensarci’ by Gianni Zanasi, an Italian comedy. Coming up are Gus Van Sant’s ‘Paranoid Park’ and a few Romanian films: Horatiu Malaele’s ‘Silent Wedding’, Adrian Sitaru’s ‘Hooked’ and Anca Damian’s debut, ‘Crossing Dates’. Their most profitable film was Tudor Giurgiu’s ‘Love Sick’ with 20,800 admissions and a box office gross of over €50,000. Other successful features were Neil Burger’s ‘The Illusionist’, with 11,500 admissions, and ‘Paris Je T’Aime’, with 9,715 admissions.

Film distribution business in Romania is rather unstable. There are eight active distributors bringing 150-160 features every year to 40-50 screens around the country. The number of distributors is growing and it is becoming a overserved field.

The Romanian mainstream public has little interest in European arthouse film and there are very few available screens, no arthouse cinemas and a poor DVD and TV arthouse market. And there is competition among distributors.

• Stefan Kitanov is the founder of the most important annual film event in Bulgaria, the Sofia International Film Festival. In 2001 he founded ART FEST Ltd., the company behind Sofia IFF. The same company is one of the key European film distributors in Bulgaria. ART FEST Ltd. has three components: production, distribution and exhibition.

Most recent releases include Fatih Akin’s ‘The Edge of Heaven’, ‘The Palermo Shooting ‘by Wim Wenders and ‘Delta’ by Kornel Mundruczo. The most successful releases were Francois Ozon’s ‘Swimming Pool’ and ‘Crossing the Bridge’ by Fatih Akin with 8,000 to 10,000 admissions.

Such a distribution business is not profitable. Festival audiences like European films but the general audience likes Hollywood films. Festival audiences don’t go to regular cinemas. The general audience goes to regular cinemas, therefore European films don’t go regularly to mainstream cinemas. There need to be events around the distribution of European films so that they be seen, such as a traveling package going to different towns, whether it is with 35mm or video screenings. There are less than 30 towns in Bulgaria with cinemas.

• From Estonia, Katrin Rajaare of Tallinnfilm, a state-owned company that used to produce the majority of Estonian films during the Soviet era has stopped production and sold its studio and now focuses on restoration of its archives. In 2004, Tallinnfilm began operating as an arthouse cinema and a year later started a distribution operation to ensure continuous programming for the cinema. Tallinnfilm acquires the rights to 12-16 films a year, mostly European films, with some titles from Asia and the US. As a state-owned company, Tallinnfilm buys mostly Estonian theatrical rights only. It is the second largest distribution company in Estonia, with a market share of 2.6%. In the Baltic countries, all rights are acquired for smaller films and shared with Lithuania’s Skalvija and Latvia’s Kino Riga. Their biggest hit in 2007 was ‘La Vie en Rose’ with 9,606 paid admissions. This film was number 43 in the 2007 national box office chart. Only US and Estonian films were at the top of the chart. Recent acquisitions include ‘Happy-Go-Lucky’ and ‘Vicky Christina Barcelona’ to be released around Christmas and the beginning of 2009.

There is a small, steady market for arthouse titles in the capital city of Tallinn, but the recent opening of a five-screen miniplex in the second city, Tartu (96,000 inhabitants), has brought hope from the outskirts as well. There are very few towns where you can screen European films, although the cinemas have received public support for technical equipment and should screen arthouse titles, but the reality is that you can’t force cinemas to screen certain films that won’t bring in audiences.

• From Lithuania Skalvija, an exhibitor since 1962 under the name of Planeta became the only arthouse in Lithuania in 1992. It has only one screen and 88 seats and is subsidized by the Vilnius Municipality. Located in the city center; it promotes quality cinema and pays special attention to young audiences and education. Its market share as an exhibitor is 1.11%. Two major multiplex theatres share 70 % of the entire Lithuanian exhibition market. Greta Akcijonaite heads its recent arthouse film distribution activity. Over the last two years they have released 10 films theatrically, and another 5 have been acquired for Lithuania and/or all the Baltic States. As a very small and specialized distributor, Skalvija has a market share of 0.64%. Most recent releases were the Danish film ‘Adam's Apples’, with almost 8,000 admissions and the Spanish film ‘Dark Blue Almost Black’ with over 6000 admissions. Recent acquisitions include Sam Garbarski’s ‘Irina Palm’ (Belgium/UK), Kornel Mundruczo’s ‘Delta’ (Hungary), the Palme d’Or winner ‘The Class’ (France) by Laurent Cantet, Thomas Clay’s ‘Soy Cowboy’ (Thailand/UK), Ruben Östlund’s’ Involuntary’ (Sweden), and Ilmar Raag’s ‘The Class’ (Estonia).

The market share of the European films released theatrically was 25% in 2007 although the share of admissions to European films was only 11%. There is definitely a lack of venues for screening European and quality films.

• Latvia’s Oskars Killo heads Acme Film Sia the leading independent film distributor in Latvia, established in 2004 and owned by Acme, a Lithuanian based company. The rights for Lithuania, Latvia and Estonia are bought by the mother company in Lithuania. In 2007, Acme Film had 62 theatrical releases and a 25% market share. In 2008, the number of films released will be the same, but the revenue is expected to be higher. In 2008, Acme Film has had such European successes as French films ‘99 Francs’ and ‘Asterix at the Olympic Games’, and Spain’s ‘The Orphanage’. The last European hit was ‘2 Days in Paris’, released on one print on July 4, 2008 and still in release with 12,500 admissions thus far. ‘Cash’ was released on one print on August 1 and has 8,500 admissions so far. The results for ‘2 Days in Paris’ and ‘Cash’ are comparable to recent US releases in Latvia such as ‘The X-Files 2’, and ‘Disaster Movie’. Recent European acquisitions include ‘Happy-Go-Lucky’, ‘Paris’, ‘JCVD’, ‘The Duchess’, ‘Vicky Christina Barcelona’, ‘Vinyan’, ‘Ne te retourne pas’ among others.

In 2007, European films had a 18.3% market share, US films a 66% market share, the rest of the world 10.1% and national films a 5.5% market share.

Then She Found Me, Helen Hunt's directorial debut, will receive its U.S. premiere Jan. 3 as the opening-night feature at the 19th annual Palm Springs International Film Festival.

Hunt stars in the film -- which she co-wrote with Victor Levin and Alice Arlen from a novel by Elinor Lipman -- as a New York teacher encountering a midlife crisis. With a cast that includes Bette Midler, Colin Firth and Matthew Broderick, the ThinkFilm release is set to bow in May.

The fest also said Tuesday that director John Sayles, whose new film Honeydripper will screen as part of its lineup, will be honored Jan. 6 with its American Maverick Award.

In addition to the opening-night gala, the festival will hold six international galas spotlighting such films as Fatih Akin's The Edge of Heaven from Germany, Joseph Cedar's Beaufort from Israel, Jonah Markowitz's Shelter from the U.S. and Daniele Luchetti's My Brother Is an Only Child from Italy.

New this year will be a showcase of Israeli film.

ROME -- Giuseppe Tornatore's La Sconosciuta (The Unknown Woman) will represent Italy in Oscar's foreign-language category this year, marking the second time the helmer has carried the flag for Italy. He won the foreign-language Oscar in 1990 for Cinema Paradiso.

The honor, announced Wednesday by the Italian Association of Cinematographic Audiovisual and Multimedia Industries, caps a stellar year for both Tornatore and La Sconosciuta, which tells the story of a Ukrainian immigrant with a dark past who lives in a small Italian town.

The film took home five David di Donatello Awards, including best film and best drector nods, scooped the audience award at June's Moscow Film Festival, earned three nominations for the new Cinecitta awards for behind-the-scenes excellence in film and five for the Diamanti al Cinema Awards.

Tornatore, meanwhile, received an lifetime achievement nod at this summer's Taormina Film Festival, where he was the subject of a comprehensive retrospective.

According to ANICA, Daniele Luchetti's Festival de Cannes entry Mio Fratello e Figlio Unico (My Brother is an Only Child) also was considered as Italy's entry, but La Sconosciuta was selected after a lengthy debate.

ROME -- Two of Italy's best-known directors and three up-and-coming talents are behind the best film nominees at this year's 2007 David di Donatello awards, organizers announced Tuesday.

In most previous years, one or two films have dominated the nominations for the David awards, Italy's top film honors. But this year's slate spreads the wealth between nearly a dozen productions nominated in more than one major category.

Among the leading lights are Ermanno Olmi's Centochiodi, which garnered the director his seventh David nomination in the best film category. The film is reported to be Olmi's last narrative film. Giuseppe Tornatore's La Sconosciuta (The Unknown) also was nominated for the top honor.

The films from emerging talents in the centerpiece competition are Emanuele Crialese's Nuovomondo (The Golden Door), which won a special jury prize at last year's Venice film festival; 2006 Cannes C.I.C.A.E. award winner Anche Libero va Bene (Along the Ridge) from Kim Rossi Stuart; and Daniele Luchetti's local boxoffice smash Mio Fratello e Figlio Unico (My Brother is an Only Child).

• Lots of first time filmmakers make up this year's Un Certain Regard. Here is the complete list. (Still below: Harmony Korine's Mister Lonely)Bross Malos HABITOSValeria Bruni-tedeschi Le RÊVE De La Nuit D’Avant (Bad Habits)Carmen Castillo Calle Santa Fe (Santa Fe Sreet)Chung Lee Isaac Munyurangabo (Liberation Day)Lola Doillon Et Toi T’Es Sur Qui ?Enrique Fernandez & César Charlone El BAÑO Del Papa (And Along Come Tourists)Eran Kolirin Bikur HATIZMORETHarmony Korine Mister LONELYKadri KÕUSAAR Magnusli Yang Mang Shan (Blind Mountain)Daniele Luchetti Mio Fratello È Figlio Unico (My Brother Is An Only Child)Cristian Nemescu California Dreamin' (Nesfarsit) California Dreamin' (Endless)Jaime Rosales La Soledad (Fragments Of Loneliness) Barbet Schroeder L’Avocat De La TERREURCéline Sciamma Les PIEUVRESRobert Thalheim Am Ende Kommen TOURISTENEkachai Uekrongtham Kuaile Gongchang...

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