Rai 3

A filmmaker recalls his childhood, when he fell in love with the movies at his village's theater and formed a deep friendship with the theater's projectionist.

Following the wedding of his daughter, stone-faced beekeeper Spyros makes an annual journey from the north of Greece to the south, traveling along with his hives. En route, he meets an erratic, young female drifter, with whom he strikes up an unusual, self-destructive relationship.

In the basement of a hypothetical ministry, a man has set up a public office where he intends, for a fee, to solve any bureaucratic problem. His life becomes complicated the day he realizes that someone is persistently spying on him.

Diana Damrau performs the title role of Salieri's opera staged in the Teatro alla Scala in 2004. Riccardo Muti conducts the Teatro alla Scala Orchestra and Chorus with the cast also including Desirée Rancatore as Semele and Genia Kühmeier as Asterio.

An American independent director comes to Italy to shoot a film. But inconveniences and obstacles stand in the way at every step. These are the years in which “Tangentopoli” rages and the golden rule of officials and collaborators is “one (bribe) to you, one to me, one to Raffaele”.

A Donatello award nominated documentary investigating the imbalances between rural and urban life in China.

Filmed for Rai 3 and aired on two evenings on 29 March and 5 April 1986, A train in the heart of the south is a journey that follows the "marginal" railways of the south and the marginalized who are found along them. Filmmakers and travelers Anna Lajolo and Guido Lombardi reveal the confined and marginalized Italy that has nothing in common with the glossy images of the 1980s. As always with the couple of filmmakers born on the wave of underground cinema, the filmed space is a conflictual space, which "fists with reality".

Taken from the four canonical Gospels and the seven apocryphal Gospels, the film starts from a basic idea: the betrayal by Judas was an act essential to the mission of Christ and the salvation of humanity.

Five Turin directors document the first edition of "Luci d'Artista": Christmas lights created by some artists and installed in the streets of Turin.

This documentary is about the Italian small family circus, based on the old street theatre of the Commedia dell'Arte. Since World War II, they have diminished in number and today hardly exist anymore. They simply can't compete with modern times entertainment, symbolized by television. The film portrays and follows the Colombaioni family, six brothers and two sisters, their children and grand children. Most of them work in their own small circus(father, mother, children). Two of the brothers, Carlo and Alberto left the circus and now have a theatre show, based on their improvisation skills that they learned in the circus. The family is known by their collaboration with Frederico Fellini and Dario Fo. They appeared in many a Fellini movie -o.a. La Strada, Le Notti di Cabiria and I Clown.

A builder from the province of Potenza tries to set up a large sausage factory to create employment and well-being in a predominantly agricultural town. But the company fails due to bad checks and unobtained loans, in the vain search to find valid partners or political protection. Mileo is thus forced to look for work, with little success, in various cities in Italy to be able to pay his debts.

Shot in his butcher shop by a rival clan during the Mafia wars of 1988, the Palermo Mobster Tano Guarrasi is mourned by his wife, four unmarried sisters and his daughter. But in truth, his death represents a kind of liberation for the women.

A girl goes up a river from the mouth, backwards, perhaps in search of a place or fleeing from something... Among wolves and mysterious glances she will find someone who will give her refuge and who, in turn, will ask her for help...

Director Alessandro Comodin recounts for Fuori Orario the genesis of his two films, "Summer of Giacomo" and "Happy times will come soon" and reflects on his own conception of cinema: the need for escape and movement, the adolescence of moving bodies and the perception of passing time, the importance of locations and immersion in nature, the technical practice during filming, the approach to the cinematographic medium as a way to see better and to establish a relationship of sensory capture of reality, the relationship with the actors. With references to his favorite filmmakers, from Bresson and Monteiro to Wang Bing, and to the recurring images of his films: the hole and the labyrinth, the loop of time and epilogues, the fairy tale and metamorphosis.

A screening of the 30 year old Hands Over The City at the School of Architecture in Naples is the occasion for a debate among youth, historians, politicos, industrialists, environmentalists.