We are with Pasolini during the last hours of his life, as he talks with his beloved family and friends, writes, gives a brutally honest interview, shares a meal with Ninetto Davoli, and cruises for the roughest rough trade in his gun-metal gray Alfa Romeo. Over the course of the action, Pasolini’s life and his art (represented by scenes from his films, his novel-in-progress Petrolio, and his projected film Porno-Teo-Kolossal) are constantly refracted and intermingled to the point where they become one.
It’s 1348. The plague has brutally hit Florence. A group of then young people, seven women and three men, rebel against the feeling of death that is about to swallow them. They flee the city and find refuge in an abandoned villa in the Tuscan hills. Here, between moral doubts and the tasks needed to survive, they kill time by telling each other stories until they will decide to return. The stories are varied – tragic, bizarre, funny or erotic – but common and central to all of them is the female presence.
John Wick is forced out of retirement by a former associate looking to seize control of a shadowy international assassins’ guild. Bound by a blood oath to aid him, Wick travels to Rome and does battle against some of the world’s most dangerous killers.
Based on the true story of acclaimed music icon “Dalida” born in Cairo, who gained celebrity in the 50s, singing in French, Spanish, Arabic, Hebrew, German, Italian, playing in awarded Youssef Chahine’s picture “Le Sixième Jour”, and who later committed suicide in 1987 in Paris, after selling more than 130 million records worldwide.