Bocalupo Films

A nun is called upon to adopt her 15-year-old nephew, and as a consequence religious, familial and sensual love become entangled.

Athens. Nothing seems to move. The locals seem as still as statues. While at the same time, somewhere, a caryatid is escaping from a museum and a small group of people demands the destruction of all antiques. Would film be the only way to avoid stone-cold indifference?

The film tells the life story of its director, Jan Nemec, one of the most known and important filmmakers of Czech New Wave.

«Bestiaries, Herbaria, Lapidaries» is an ‘encyclopaedic’ documentary, whose non-human protagonists tell about us humans. The film is divided into three volumes, each dealing with a single subject: animals, plants, stones. In this tripartite vision, each of its segment is a tribute to a specific genre of documentary filmmaking. Through the three volumes, a single dramaturgical body emerges, that stages a process of admission of responsibility, a process of maintenance and protection, and finally a process of rediscovery of a common and fundamental value: care.

Vincent has followed the woman he loves to New York. But they're not getting along anymore. Stubborn, he's going to try to do everything to get her back.

In 19th-century Montenegro, the free mountain territories are surrounded by Turkish forces, isolated from the West and steeped in conservatism, patriarchy, and superstition. Morlak, a poet and bishop inspired by the historical figure Petar II Petrović Njegoš, leads his tribe in resisting the invaders. Gravely ill, he is sent to southern Italy in search of a cure. The journey takes him to a house in Naples, a city that contrasts sharply with his homeland’s isolated hills. As Morlak contemplates his existence, his loyal servant Djuko struggles with profound nostalgia, driven by the fear of his master’s death in a foreign land.

A freighter crosses the ocean. The hypnotic rhythm of its gears reveals the continuous movement of machinery devouring its workers: the last gestures of the old sailors’ trade disappearing under the mechanic and impersonal pace of 21st century neo-capitalism. Perhaps it is a boat adrift, or maybe just the last example of an endangered species. Although we don’t know it, the engines are still running, unstoppable.

In the 2014 municipal elections, at Saillans in the Drôme department, a citizen electoral list carried the day based on the project for participatory democracy. Great hopes are kindled by this “Republic of Saillans”. Five years later, as the next elections draw near, the village meets to make a first assessment of this political experiment.

At a party in Barcelona, Helena hopes to meet an old lover from who she is still in love. While the night moves forwards, her initial sensuality becomes disdain.

For the sake of love, Vincent has followed Barbara to New York. But she wants nothing more to do with him. Obsessed with the idea of winning her back, he decides to see things through to the bitter end...

French filmmaker Armel Hostiou discovers he has a double in Kinshasa. Someone has created a fake Facebook profile in his name to hustle aspiring actors. So Armel heads to Congo’s vast capital to track him down, and there begins one of the wildest and most unpredictable films of the year. An elementally suspenseful and wildly entertaining detective story about a white filmmaker on foreign ground. But also a story which with hilarious self-irony and in one twist after another turns into a darker story about the internet, identities and post-colonial struggles in the 21st century.

Paris, a pivotal day in the life of Bianca, Thalat and Peter.

Landscapes of Resistance traces a journey through the memories of antifascist fighter Sonja (97), the first Partisan woman in Serbia, who was also one of the leaders of the Resistance movement at Auschwitz. We make her story travel through time towards the bodies of the new generation of antifascists, bespeaking that it is always possible to think and practice resistance.

Estela raises her son alone in a neighborhood of San José. His life takes a turn from the day he loses his job

Bernard just retired. He is 63 years old. He lives alone with his two cats and decides to move in the house where he will live the last chapter of the book of his life. While packing, he starts to have to choose what to take with him. Bernard is my master and I am his slave. His last lover. I help him put away his whip in a box, between the remains of his memory, tokens of lovers stripped from his arms by AIDS, traces of a foster family that pushed him away, of a rigid education that marked him, of a mother and a father that he never met. Our sexual games are the possibility for two generations to meet: between a whip and a leather harness we discuss love, death, the AIDS epidemic of the 80s, his new life project, us. The wounds and the grave goods of a survivor, a cry of life under the lights of sexual pulsions.

A Slovenian filmmaker-botanist and a Japanese neuroscientist join forces to study an unusual agricultural document from the mid-20th century. The manuscript describes the case of a pear tree from a small village on the Yugoslav-Italian border, which was believed to be holding miraculous power to defy time.

An interrogation of the globalized aesthetics of contemporary Cambodia's transformed cityscapes, as well as the lives -- and parallel experiences of alienation -- of the construction workers and homebuyers who occupy its new highrises and hidden squats.

"Letters from Europe" brings to light the words of men and women who gave their lives resisting the Nazi and fascist conquest from 1939 to '45 across the European continent. The moving goodbyes penned by a few of those sentenced to death are sometimes true spiritual testaments that explore the meaning of civic responsibility, human existence, fraternity, and life and death. Their words, which the film mingles with footage of the present day, can perhaps restore meaning to a humanist ideal and to the ever-changing idea of a united Europe.

Ligia, a 40-year-old choreographer of color from Berlin, is coming to Belgrade for an artist residency. She will collaborate with Sonja, a 72-year-old Belgrade native, anti-Milosevic activist, and retired dancer who famously performed at the last Youth Day celebration in 1988, just before the fall of the Berlin Wall and the beginning of the Yugoslav wars. Working together in a studio located in the utopian architecture of socialist modernism, they delve into experiences of utopia and dystopia, age, gender, and race. The liberal idea of freedom, celebrated in the last Youth Day performance, is hindered for various reasons. Whose freedom is it, then? Who has and who does not have the right to it? These are the questions that Body in Plural opens up through the relations between the female body, architecture, and ideology.