The Wonders

Umay is a young woman of Turkish descent, fighting for an independent and self-determined life in Germany against the resistance of her family. Her struggle initiates a dynamic, which results in a life-threatening situation.

The Messina brothers are Yesmoke, a little tobacco company based in modern day Turin, Italy. Originally, Yesmoke was an online store for cigarettes selling its products all over the world. Every day millions of people would buy cheap packets of Marlboro, Camels and Lucky Strikes online. When sales reached over one hundred million, "Big Tobacco" started to fight the "Little Guys" and sued them for 550 Million dollars, obligating them to shut their website down.

Marusya is 16 and, like many Russian teenagers, is determined to end her life. Then she meets her soulmate in another millennial, Kimi. They spend a decade filming the euphoria and anxiety, the happiness and misery of their youth, muzzled by a violent and autocratic regime in the midst of a “depressed Russia”. This film is a cry from the heart, a tribute to an entire silenced generation.

The film is an attempt to recreate the world of Marc Chagall and his myth within the genre of a folklore ballad. We are not exploiting Chagall's images, but are attempting to create a dramatized projection of his creativity onto the movie screen, relying on both, facts and fantasy (as Chagall himself would).The story is based on real events which occurred at the time of Chagall's short-lived period in Vitebskin in 1917-18, during which time he creates the Academy of Modern Art, inspired by his dreams of a bright and beautiful future. Many pictures by Chagall and Malevich are used in the film.

Pernat finds himself in a police interrogation, accused of a murder, and unable to recall any details of the crime, or even his own life. He's released back into a world of raving lunatics and deranged dentists, murderous doctors and scientists who believe the secret of human creation is inside the walls of a cast-iron oven.

After growing up in Switzerland, 13-year-old Marta returns to a city in southern Italy with her mother and older sister. Independent and inquisitive, she joins a catechism class at a local church. However, the games and religious pop songs she encounters there do not nearly satisfy her interest in faith. Struggling to find her place, Marta pushes the boundaries of the class, the priest, and the church.

Bruno and Sonia, a young couple living off her benefit and the thefts committed by his gang, have a new source of money: their newborn son. The carefree Bruno, who until then had only cared about the here and now, must now learn to become a father.

Fatima, an Algerian-born woman who now lives in France with her two teenage daughters, with whom she is barely able to communicate.

Dancer Elena and sign language interpreter Dovydas meet and form a beautiful bond. As they dive into a new relationship, they must navigate how to build their own kind of intimacy.

Film director Blasetti is looking for a little girl for his new movie. Along with other mothers, Maddelena takes her daughter to Cinecittà, hoping she’ll be selected and become a star. She is ready to sacrifice anything for little Maria.

German journalist Philip Winter has a case of writer’s block when trying to write an article about the United States. He decides to return to Germany, and while trying to book a flight, encounters a German woman and her nine year old daughter Alice doing the same. The three become friends (almost out of necessity) and while the mother asks Winter to mind Alice temporarily, it quickly becomes apparent that Alice will be his responsibility for longer than he expected.

A lighthearted take on director Yasujiro Ozu’s perennial theme of the challenges of inter­generational relationships, Good Morning tells the story of two young boys who stop speaking in protest after their parents refuse to buy a television set. Ozu weaves a wealth of subtle gags through a family portrait as rich as those of his dramatic films, mocking the foibles of the adult world through the eyes of his child protagonists. Shot in stunning color and set in a suburb of Tokyo where housewives gossip about the neighbors’ new washing machine and unemployed husbands look for work as door-to-door salesmen, this charming comedy refashions Ozu’s own silent classic I Was Born, But . . . to gently satirize consumerism in postwar Japan.