Ricerca avanzata

Marcos, a rather unsuccessful film director, is immersed in the shooting of his new film, a queer giallo, when a series of terrible murders starts to happen in Barcelona, and all of them seem to be traced back to him. Cut. combines genres as far apart as terror and comedy, about a director vampirized by cinema who, despite being despised because of his films, needs to keep making them in order to live.

Today is the premiere day, and Artur, son of a bourgeois family and dancer in a contemporary dance company, acts like the prince in a kingdom tailored to his own image. Everything changes when his father is arrested for corruption in a real estate scandal. From that moment on, Artur must decide between protecting his family by covering up for his father or facing the consequences of losing his privileges.

At the centre of this film lie our three protagonists: Ignasi Monreal, Benjamin Pech and their dog Boris. The couple live in Rome in a beautiful apartment in the centre of town. Love flourished five years ago when they met at an event and later went on to collaborate on the set design for the production of Swan Lake. For the last three years, they've been working day in day out, to bring Benjamin Pech's newly adapted version of La Bayadère to life. Benjamin Pech was a dancer in the original Bayadère in 1992 which was directed by Nureyev, choreographed by Marius Petipa and scored by Sergei Minkus. This time, as the current associate director of the Teatro dell'Opera di Roma, he's created a slightly new version of La Bayadère which is still very much in keeping with the original story and plot, but with a slightly modern twist. One of the key elements in this modernisation is Ignasi Monreal's beautiful sets, which he first paints on an iPad, and then has 30 painters bring to life in the physical realm. Some of these painters have been working at the theater's atelier for nearly thirty years. They've painted these gigantic sets (and when we say they're big, we mean 12 meters by 9 meters big) all by hand using a painting technique which is only used here in Rome and in Palermo. Interestingly enough, Benjamin, Isabel Guerin (former étoile at the Paris Opera House) and Vinicio Celi were all present in Nureyev's version in 1992. Benjamin looked up to and admired Isabel from afar, and now thirty years later, she's helping Benjamin with the dance and choreography. These small insights are a true testament to the power of dance and Ballet, and how important tradition and craft are. A full circle moment some may call it. Throughout the length of the documentary, we bear witness to all the different people and departments involved and their passion for the arts. From the attention to detail in the choreographies to the design of the lights on stage and every musician involved. In all honesty, we're not sure what category In Bocca Al Lupo fits into because it's more than just a documentary about the making of a ballet. (Although of course, you get to see beautiful ballet) Really it's a tongue-in-cheek deep dive into a world of magic. It's a story about a couple in love and their dog who have revolutionized a world of tradition. We're giving the world of theater a bit of a modern and fresh makeover, using different visual formats to celebrate one of the most beautiful and ancient forms of storytelling.

Colombian American director, Stillz presents his first short film, where a deer-headed person considers the beginning of life.