Three years after the loss of his brother Vittorio, with whom he shared his entire career, Paolo Taviani returns to the works of Luigi Pirandello, which the pair adapted in 1984 (Chaos) and 1998 (You Laugh). In keeping with the Sicilian playwright’s vision, the film is not at all what it appears to be. The title may come from a 1910 novella, but there is no trace of that book’s jealousy-riddled plot. Instead, the focus is on Pirandello himself, or rather, his ashes, which are transported from a hasty burial site in fascist Rome to a permanent resting place in Sicily, on a trek that takes us through post-war Italy and its filmed memories, as seen in newsreels, amateur films and fragments of Neorealism. Having buried the master, Leonora addio then shifts gear from road movie to film adaptation, but here it picks a different Pirandello story, namely the last one, written shortly before his death in 1936. From the farewell of the title to its return to the writer’s last words, it is hard not to read this work, so free and yet so much a part of the Taviani world, as a moving brotherly farewell which, just as in 2012’s Golden Bear winner Caesar Must Die, once again uses cinema to give voice to literature and history.

In a countryside house where they are meant to explore the troubles in their sexuality, three women spend days and nights apprehending their inner demons. A serene German therapist and a kind-hearted social worker supervise them, help them and try to maintain the fragile balance of the group. During 26 days, in the midst of summer, Geisha, Léonie and Eugénie will have to refrain from breaking down, tame the whispers from present times and consider the future.

2022 film directed by Lukas Dhont

A group of friends on a weekend getaway play a game of pretend murder called “bodies bodies bodies” which results in several real murders.

2022 film directed by Hirokazu Koreeda

2022 animated film by Angus MacLane

Films about confinement during the pandemic may have gone viral, but La edad media is a species of a whole other kind. Lucid and ludic, terribly funny but also deeply serious at the same time, this film co-directed by dancer and choreographer Luciana Acuña and filmmaker Alejo Moguillansky has a wise, privileged narrator: their ten-year-old daughter Cleo. Through her eyes, the film deals with far more issues than mere Covid routines, such as online lessons and virtual shopping, the latter of which turns awfully weird here. Rampant inflation, cultural policy and market value are on the menu of La edad media, which expands upon the question raised by Moguillansky in his previous film Por el dinero (2019): is it possible for artists to pay the bills with their work? And if so, at what cost? The cinematic use of the restricted space of the family home is masterful in all its possibilities, which Acuña and Moguillansky embrace with a crazy, slapstick spirit augmented with Samuel Beckett’s Theatre of the Absurd. And a special mention goes to Juana, the family dog: Aki Kaurismäki would surely love to cast her in his next film.

2022 film directed by William Brent Bell

It is 3:55 when we first see what time it is, on the iPhone that has detected motion outside. It is the middle of the night, but things have hardly been quiet, all the sounds become magnified in the dark anyway and not just because they are being recorded: the horn of the passing train, the gurgle of the swimming pool filter, the autumn leaves scratching across the tarmac. Considering how late it is, a surprising number of people are still up, the couple in the car, the old lady in the armchair on the phone, the boy who applies make-up before slipping out of the house on roller skates; the song to which the police officer does press-ups is right, a lot of people do not rest enough. The camera caresses these suburban spaces, and they feel so familiar, like the American films we watched as teenagers, at once banal and strangely ominous, knick-knacks in cabinets, quivering chandeliers, a cluttered cellar, the sword on the rack. But this is not a horror film, it is more like a shared dream, whereby the dreamers dream not of cinema but of its individual pieces, and everyone is drawn to the same place. And that is what we see in the very first image: the head of corn in the mud.

A girl wakes up in a huge secret laboratory, then accidentally meets another girl who is trying to protect her house from a gang. The mystery girl overthrows the gang with her unexpected powers, and laboratory staff set out to find her.

2022 film directed by Loren Bouchard and Bernard Derriman

2022 film directed by Rikiya Imaizumi

A struggling actor who seems doomed to lead the life of a loser. When finally gets a lead role as a superhero named "Badman," he feels like everything is possible but fate strikes again.

“视而不见，与刽子手同罪”。 系列首部超长剧场版，故事围绕发生在山东临清诸多江湖门派之间波诡云谲的斗争展开，主角漕帮少主罗通卷入了一场针对漕帮的阴谋，面对即将覆灭的漕帮，以及众多江湖门派的追杀，罗通在青梅竹马红娘、营造神工江渊、莽撞的义士龙顺的帮助下，一步步接近真相，每个人都有自己的信仰和坚持，并由此发生了一场场酣畅淋漓的热血战斗……

2022 film directed by Alexander Zolotukhin

Early 20th century, in the Ughetto family's home village, Ughettera, Northern Italy. Life in the region had become very difficult and the Ughettos dreamed of a better life abroad. Legend has it that Luigi Ughetto crossed the Alps and started a new life in France, thus changing his beloved family's destiny forever. His grandson retraces their story.

2022 anime film by Tetsurō Araki

A fanboy of a supervillain supergroup known as the Vicious 6, Gru hatches a plan to become evil enough to join them, with the backup of his followers, the Minions.

2022 film directed by Shūichi Okita

Dako, Boku-chan and Richard commit their next con on Malta Island.