The On the Road Film Festival is an independent festival of international significance which follows an original path inspired by travel, geographical wandering, making a track across wild lands and city landscapes. The cue for this the eighth season is the principal based on the ‘Path of Least Resistance’, a concept based on and borrowed from the second law of thermodynamics by which, water, for example, in its never-ending journey, always searches for the way which poses the least possible resistance. A principle which grows into the Toaist philosophy of Wu wei, the non-action or better the understanding of when to act and when not to do so, when there is a prospect of harmony, equilibrium, economy and concentration of the forces. A sober reminder to never put out the flame of Reason, while we turn to breathe in the warring fetid breathe at the heart of Europe.

A psychological thriller on the shoulders of an extraordinary performer like Joanna Scanlan. Mary Hussain converted to Islam when she married Ahmed, she is now in her 60s and they live peacefully together in the coastal town of Dover, England. After her sudden death, she will discover that Ahmed had a secret life in Calais, across the Channel, a few miles away from their home. A revelation that will push her to investigate to find out more about that second family that her husband has always kept hidden from her.

A psychological thriller on the shoulders of an extraordinary performer like Joanna Scanlan. Mary Hussain converted to Islam when she married Ahmed, she is now in her 60s and they live peacefully together in the coastal town of Dover, England. After her sudden death, she will discover that Ahmed had a secret life in Calais, across the Channel, a few miles away from their home. A revelation that will push her to investigate to find out more about that second family that her husband has always kept hidden from her.

A psychological thriller on the shoulders of an extraordinary performer like Joanna Scanlan. Mary Hussain converted to Islam when she married Ahmed, she is now in her 60s and they live peacefully together in the coastal town of Dover, England. After her sudden death, she will discover that Ahmed had a secret life in Calais, across the Channel, a few miles away from their home. A revelation that will push her to investigate to find out more about that second family that her husband has always kept hidden from her.

On the Road Film Festival è un festival indipendente di rilevanza internazionale che traccia un percorso inedito di cinema ispirato al viaggio, alle geografie erranti, agli attraversamenti di terre selvagge e agli spaesamenti metropolitani.  Tutte le proiezioni, in lingua originale con sottotitoli in italiano, si svolgono al Cinema Detour di Roma  nei fine settimana dal 26 marzo al 10 aprile 2022. In concorso 9 lungometraggi e 9 cortometraggi selezionati tra oltre 200 proposte provenienti da 40 paesi nel mondo. Due Giurie composte da personalità della cultura indipendente cinematografica, artistica e letteraria a larga rappresentanza femminile, e il voto del pubblico in sala, assegneranno premi in denaro e menzioni speciali. La cartografia ideale di questa ottava stagione sembra orientarci sulla via della “minor resistenza” o “resistenza pacifica”, concetto preso a prestito dalla seconda legge della termodinamica in base al quale, per esempio, l'acqua, nel suo viaggio incessante, ricerca sempre il cammino che opponga la minore reazione possibile. Un principio che si incarna nell’equivalente filosofico taoista del Wu Wei, la non-azione o meglio la consapevolezza del quando agire e del quando non agire, in una prospettiva di armonia, equilibrio, economia e concentrazione delle forze. Una traccia sotterranea che è anche un invito a non allentare mai l'allenamento della Ragione e del pensiero critico, proprio mentre tornano a soffiare fetidi aliti guerreschi fino nel cuore d’Europa.

An exploration into our planetary past and a search for humanity's place in the future. Filmmaker Terrence Malick examines the origins of the universe, the birth of stars and galaxies, the beginning of life on Earth and the evolution of species.

An exploration into our planetary past and a search for humanity's place in the future. Filmmaker Terrence Malick examines the origins of the universe, the birth of stars and galaxies, the beginning of life on Earth and the evolution of species.

Eve used to be one of the most famous rose creators in the world. Today, her company is on the verge of bankruptcy. On top of that, her secretary Vera has hired three outcasts with absolutely no gardening skills. Though they have nothing in common, they come up with the most crazy plan that could change their lives forever.

After Allan Gray rents a room near Courtempierre in France, strange events unfold: An elderly man leaves a packet on Gray's table, and shadows that are seemingly alive lead him toward a castle. At a nearby manor, he witnesses the same man being murdered and gradually learns about the curse of the Vampyr. As Gray faces the horrors of the castle, he attempts to save the victim's daughters -- one of whom, Léone, has fallen ill after mysteriously being bitten.

After Allan Gray rents a room near Courtempierre in France, strange events unfold: An elderly man leaves a packet on Gray's table, and shadows that are seemingly alive lead him toward a castle. At a nearby manor, he witnesses the same man being murdered and gradually learns about the curse of the Vampyr. As Gray faces the horrors of the castle, he attempts to save the victim's daughters -- one of whom, Léone, has fallen ill after mysteriously being bitten.

The Worst Person in the World is a modern dramedy about the quest for love and meaning in contemporary Oslo. It chronicles four years in the life of Julie (Renate Reinsve), a young woman who navigates the troubled waters of her love life and struggles to find her career path, leading her to take a realistic look at who she really is.

On a gray, foggy morning outside a large Polish city, Zhenia (Alec Utgoff), a masseur from the East, enters the lives of the wealthy residents of a gated community. Using hypnotic, almost magical techniques to get a residence permit, he starts working. The well-to-do residents in their cookie-cutter homes seemingly have it all, but they all suffer from an inner sadness, some unexplained longing. The attractive and mysterious newcomer's hands heal, and Zhenia's eyes seem to penetrate their souls. To them, his Russian accent sounds like a song from the past, a memory of their seemingly safer childhoods. The latest from writer/director Malgorzata Szumowska (Elles, In the Name of) and her longtime collaborator Michal Englert is an unclassifiable meditation on class, immigration, and global warming with touches of magical realism and moments of sober beauty and subtle humor.

Retirement is coming soon for Luís Rovisco. The songs he dreams up during the day make up for all the injustices in his life. But standing before the receptionist Lucinda, he finds himself singing to a different tune.

In arrivo, un poker di raffinate commedie d’autore dai quattro angoli dell’Europa per tenere alto il morale e premiare la dedizione delle nostre truppe cinefile. Ma poiché siamo pur sempre al Detour, dove abbiamo un debole per i buoni vecchi generi del cinema, non potrà sfuggirvi che il tono variopinto di ciascuna commedia è modulato con la sua particolare gradazione di dark-noir. L’asso nella manica di questa settimana, con protagonista un’abitualmente stupefacente Isabelle Huppert, è la crimedy francese MAMA WEED, che abbiamo scelto di promuovere con il suo titolo internazionale, a nostro giudizio più evocativo della sostanza della storia (in italiano è “La Padrina”, mentre il titolo originale francese è “La Daronne”).

Kiyokazu Kurihara and Satoko are a married couple. They do not have children. They learn about plenary adoption and adopt a baby son. 6 years later, the couple live happily with their son Asato. They receive a phone call from a woman, who introduces herself as Hikari Katakura. She is Asato's birth mother... There are few films that explore motherhood in such a serious, solid, beautiful way, far from judgements. Kawase takes the film in surprising directions, but her narrative and her naturalistic, engrossing style never loses emotional focus. The story may be a familiar one, but this Cannes-honored director lets it unfold with rare tenderness and mystery.