Oppressed by her family setting, dead-end school prospects and the boys law in the neighborhood, Marieme starts a new life after meeting a group of free-spirited girls. She changes her name, her dress code, and quits school to be accepted in the gang, reinventing herself and gaining a sense of self confidence in the process. However, she soon finds that this new life does not necessarily make her any happier. Powerfully acted and smartly scripted, Girlhood offers a fresh perspective on familiar cinematic territory.
After her grandmother dies, Nelly (Joséphine Sanz) is taken to her mother's childhood home. While her parents go about cleaning out the house, Nelly explores the surrounding woods. She encounters Marion (Gabrielle Sanz), a girl exactly Nelly's age and to whom she bears a striking resemblance. The pair become fast friends, constructing a hut together, sharing lunches, and talking over the life transitions both are in the midst of. (Marion is only days away from going to hospital for an operation.) Incrementally, the girls' eerie similarities yield revelations that merge events of the past with those of the present. Small in narrative scope but deeply impactful, Petite Maman is a delicate, powerfully acted meditation on grief and memory by waving a fond farewell to childhood innocence, the people you love and the person you once were with radiant charm. A poignant and moving coming-of-age story, and an example of the way cinema can make real both memories, without losing their bitter honesty, and dreams, without compromising on their glowing promise.
L’obiettivo principale di HerStories. Le Storie, Plurale, Femminile è intraprendere un percorso di narrazioni collettive al femminile. Questa seconda edizione è dedicata alla narrativa al femminile e al disegno dal vero. Due forme d’arte, due linguaggi, che si incontrano per stimolare un dialogo fertile, un’interconnessione tra stimoli artistici e culturali. Un ciclo di letture accompagnate da performance basate su disegni realizzati dal vivo ispirati brani stessi, confluiranno in quattro brevi book-trailers. Per iniziare questa nuova avventura, nella sede del Detour APS il 21 novembre, la Maestra di Pittura Olga Silivanchyk terrà un corso di “disegno veloce” che preparerà le disegnatrici e i disegnatori a cimentarsi nelle performance che avverranno negli appuntamenti successivi. Federica Tuzi, Sara Pollice, Maria Xilouri, Marina Lalović, quattro protagoniste della nuova narrativa indipendente europea, tra esordienti e più affermate, si alterneranno alla lettura di estratti delle loro più recenti creazioni letterarie.
HERSTORIES alla sua prima edizione desidera tracciare un percorso di narrazioni collettive al femminile. Quel che si intende realizzare è un racconto espanso al femminile, dove la storia di ognuna di noi è anche quella di tutte le altre. Per inaugurare questa nuova edizione di Herstories, il 21 novembre la Maestra di Pittura Olga Silivanchyk terrà un laboratorio gratuito di “disegno veloce”. Il lab è propedeutico alle performance di disegno che avverranno durante le letture di Federica Tuzi, Sara Pollice, Maria Xilouri, Marina Lalović, quattro protagoniste della nuova narrativa indipendente europea, tra esordienti e più affermate. BIO. Olga Silivanchyk, Maestra di Pittura nasce a Minsk, Bielorussia, nel 1980. Dal 2013 vive a Roma. Nel 2003 inizia a scoprire i segreti della tecnica iconografica e prende lezioni di pittura, disegno e composizione. Nel 2004 all'Accademia Statale della Belle Arti di Minsk, nella Facoltà di Pittura, studia le tecniche tradizionali. Nel 2008 si è diplomata con la qualifica di “Pittore, Insegnante" e inizia a insegnare presso la Scuola Statale d’Arte N41 di Minsk. Dal 2013 insegna a Roma.
In a remote Icelandic town, an off duty police chief begins to suspect a local man for having had an affair with his wife, who recently died in a car accident. Gradually his obsession for finding out the truth accumulates and inevitably begins to endanger himself and his loved ones. A story of grief, revenge and unconditional love
The great Taiwanese filmmaker Tsai Ming-liang has been directing exquisite examinations of alienation, isolation, and the fleeting beauty of human connection featuring his muse Lee Kang-sheng for decades. His latest film, DAYS, will undoubtedly stand as one of his best, sparest, and most intimate works. Lee once again stars as a variation on himself, wandering through a lonely urban landscape and seeking treatment in Hong Kong for a chronic illness; at the same time, a young Laotian immigrant working in Bangkok, played by Anong Houngheuangsy, goes about his daily routine. These two solitary men eventually come together in a moment of healing, tenderness, and sexual release. Among the most cathartic entries in Tsai’s filmography, DAYS is a work of longing, constructed with the director’s customary brilliance at visual composition and shot through with profound empathy. With the unanimous approval of critics and the public, Days won the prestigious Teddy Award at the Berlin Film Festival 2020, an honor that certifies the best film with a LGBT background.
In a remote Icelandic town, an off duty police chief begins to suspect a local man for having had an affair with his wife, who recently died in a car accident. Gradually his obsession for finding out the truth accumulates and inevitably begins to endanger himself and his loved ones. A story of grief, revenge and unconditional love
After her grandmother dies, Nelly (Joséphine Sanz) is taken to her mother's childhood home. While her parents go about cleaning out the house, Nelly explores the surrounding woods. She encounters Marion (Gabrielle Sanz), a girl exactly Nelly's age and to whom she bears a striking resemblance. The pair become fast friends, constructing a hut together, sharing lunches, and talking over the life transitions both are in the midst of. (Marion is only days away from going to hospital for an operation.) Incrementally, the girls' eerie similarities yield revelations that merge events of the past with those of the present. Small in narrative scope but deeply impactful, Petite Maman is a delicate, powerfully acted meditation on grief and memory by waving a fond farewell to childhood innocence, the people you love and the person you once were with radiant charm. A poignant and moving coming-of-age story, and an example of the way cinema can make real both memories, without losing their bitter honesty, and dreams, without compromising on their glowing promise.
The great Taiwanese filmmaker Tsai Ming-liang has been directing exquisite examinations of alienation, isolation, and the fleeting beauty of human connection featuring his muse Lee Kang-sheng for decades. His latest film, DAYS, will undoubtedly stand as one of his best, sparest, and most intimate works. Lee once again stars as a variation on himself, wandering through a lonely urban landscape and seeking treatment in Hong Kong for a chronic illness; at the same time, a young Laotian immigrant working in Bangkok, played by Anong Houngheuangsy, goes about his daily routine. These two solitary men eventually come together in a moment of healing, tenderness, and sexual release. Among the most cathartic entries in Tsai’s filmography, DAYS is a work of longing, constructed with the director’s customary brilliance at visual composition and shot through with profound empathy. With the unanimous approval of critics and the public, Days won the prestigious Teddy Award at the Berlin Film Festival 2020, an honor that certifies the best film with a LGBT background.
In a remote Icelandic town, an off duty police chief begins to suspect a local man for having had an affair with his wife, who recently died in a car accident. Gradually his obsession for finding out the truth accumulates and inevitably begins to endanger himself and his loved ones. A story of grief, revenge and unconditional love
In 1975, Chilean director Alejandro Jodorowsky, whose films EL TOPO and THE HOLY MOUNTAIN launched and ultimately defined the midnight movie phenomenon, began work on his most ambitious project yet. Starring his own 12 year old son Brontis alongside Orson Welles, Mick Jagger, David Carradine and Salvador Dali, featuring music by Pink Floyd and art by some of the most provocative talents of the era, including HR Giger and Jean ‘Moebius’ Giraud, Jodorowsky’s adaptation of Frank Herbert’s classic sci-fi novel DUNE was poised to change cinema forever.
The great Taiwanese filmmaker Tsai Ming-liang has been directing exquisite examinations of alienation, isolation, and the fleeting beauty of human connection featuring his muse Lee Kang-sheng for decades. His latest film, DAYS, will undoubtedly stand as one of his best, sparest, and most intimate works. Lee once again stars as a variation on himself, wandering through a lonely urban landscape and seeking treatment in Hong Kong for a chronic illness; at the same time, a young Laotian immigrant working in Bangkok, played by Anong Houngheuangsy, goes about his daily routine. These two solitary men eventually come together in a moment of healing, tenderness, and sexual release. Among the most cathartic entries in Tsai’s filmography, DAYS is a work of longing, constructed with the director’s customary brilliance at visual composition and shot through with profound empathy. With the unanimous approval of critics and the public, Days won the prestigious Teddy Award at the Berlin Film Festival 2020, an honor that certifies the best film with a LGBT background.
After her grandmother dies, Nelly (Joséphine Sanz) is taken to her mother's childhood home. While her parents go about cleaning out the house, Nelly explores the surrounding woods. She encounters Marion (Gabrielle Sanz), a girl exactly Nelly's age and to whom she bears a striking resemblance. The pair become fast friends, constructing a hut together, sharing lunches, and talking over the life transitions both are in the midst of. (Marion is only days away from going to hospital for an operation.) Incrementally, the girls' eerie similarities yield revelations that merge events of the past with those of the present. Small in narrative scope but deeply impactful, Petite Maman is a delicate, powerfully acted meditation on grief and memory by waving a fond farewell to childhood innocence, the people you love and the person you once were with radiant charm. A poignant and moving coming-of-age story, and an example of the way cinema can make real both memories, without losing their bitter honesty, and dreams, without compromising on their glowing promise.
Get your terrific masks ready for the new Halloween Horror Party at the Detour! DETOUR LOVES YOU: EVERYTHING ON A DONATION BASIS! Happy Halloween Drinks & Horror Cult Movie from 1959!
An exiled filmmaker returns to Chile, contemplating fascism and eternity.  Winner of the Best Documentary award at the Cannes Film Festival, master filmmaker Patricio Guzmán's The Cordillera of Dreams completes his trilogy (with Nostalgia for the Light and The Pearl Button) investigating the relationship between historical memory, political trauma, and geography in his native country of Chile. It centers on the imposing landscape of the Andes that run the length of the country’s Eastern border. At once protective and isolating, magisterial and indifferent, the Cordillera serves as an enigmatic focal point around which Guzmán contemplates the enduring legacy of the 1973 military coup d’état.
Two retired women, Nina and Madeleine, have been secretly in love for decades. Everybody, including Madeleine’s family, thinks they are simply neighbors, sharing the top floor of their building. They come and go between their two apartments, enjoying the affection and pleasures of daily life together, until an unforeseen event turns their relationship upside down and leads Madeleine’s daughter to gradually unravel the truth about them.
In 1975, Chilean director Alejandro Jodorowsky, whose films EL TOPO and THE HOLY MOUNTAIN launched and ultimately defined the midnight movie phenomenon, began work on his most ambitious project yet. Starring his own 12 year old son Brontis alongside Orson Welles, Mick Jagger, David Carradine and Salvador Dali, featuring music by Pink Floyd and art by some of the most provocative talents of the era, including HR Giger and Jean ‘Moebius’ Giraud, Jodorowsky’s adaptation of Frank Herbert’s classic sci-fi novel DUNE was poised to change cinema forever.
Two retired women, Nina and Madeleine, have been secretly in love for decades. Everybody, including Madeleine’s family, thinks they are simply neighbors, sharing the top floor of their building. They come and go between their two apartments, enjoying the affection and pleasures of daily life together, until an unforeseen event turns their relationship upside down and leads Madeleine’s daughter to gradually unravel the truth about them.
An exiled filmmaker returns to Chile, contemplating fascism and eternity.  Winner of the Best Documentary award at the Cannes Film Festival, master filmmaker Patricio Guzmán's The Cordillera of Dreams completes his trilogy (with Nostalgia for the Light and The Pearl Button) investigating the relationship between historical memory, political trauma, and geography in his native country of Chile. It centers on the imposing landscape of the Andes that run the length of the country’s Eastern border. At once protective and isolating, magisterial and indifferent, the Cordillera serves as an enigmatic focal point around which Guzmán contemplates the enduring legacy of the 1973 military coup d’état.
In 1975, Chilean director Alejandro Jodorowsky, whose films EL TOPO and THE HOLY MOUNTAIN launched and ultimately defined the midnight movie phenomenon, began work on his most ambitious project yet. Starring his own 12 year old son Brontis alongside Orson Welles, Mick Jagger, David Carradine and Salvador Dali, featuring music by Pink Floyd and art by some of the most provocative talents of the era, including HR Giger and Jean ‘Moebius’ Giraud, Jodorowsky’s adaptation of Frank Herbert’s classic sci-fi novel DUNE was poised to change cinema forever.
An exiled filmmaker returns to Chile, contemplating fascism and eternity.  Winner of the Best Documentary award at the Cannes Film Festival, master filmmaker Patricio Guzmán's The Cordillera of Dreams completes his trilogy (with Nostalgia for the Light and The Pearl Button) investigating the relationship between historical memory, political trauma, and geography in his native country of Chile. It centers on the imposing landscape of the Andes that run the length of the country’s Eastern border. At once protective and isolating, magisterial and indifferent, the Cordillera serves as an enigmatic focal point around which Guzmán contemplates the enduring legacy of the 1973 military coup d’état.
Two retired women, Nina and Madeleine, have been secretly in love for decades. Everybody, including Madeleine’s family, thinks they are simply neighbors, sharing the top floor of their building. They come and go between their two apartments, enjoying the affection and pleasures of daily life together, until an unforeseen event turns their relationship upside down and leads Madeleine’s daughter to gradually unravel the truth about them.
An exiled filmmaker returns to Chile, contemplating fascism and eternity.  Winner of the Best Documentary award at the Cannes Film Festival, master filmmaker Patricio Guzmán's The Cordillera of Dreams completes his trilogy (with Nostalgia for the Light and The Pearl Button) investigating the relationship between historical memory, political trauma, and geography in his native country of Chile. It centers on the imposing landscape of the Andes that run the length of the country’s Eastern border. At once protective and isolating, magisterial and indifferent, the Cordillera serves as an enigmatic focal point around which Guzmán contemplates the enduring legacy of the 1973 military coup d’état.
Daniel experiences a spiritual transformation in a detention center. Although his criminal record prevents him from applying to the seminary, he has no intention of giving up his dream and decides to minister a small-town parish.
In 1975, Chilean director Alejandro Jodorowsky, whose films EL TOPO and THE HOLY MOUNTAIN launched and ultimately defined the midnight movie phenomenon, began work on his most ambitious project yet. Starring his own 12 year old son Brontis alongside Orson Welles, Mick Jagger, David Carradine and Salvador Dali, featuring music by Pink Floyd and art by some of the most provocative talents of the era, including HR Giger and Jean ‘Moebius’ Giraud, Jodorowsky’s adaptation of Frank Herbert’s classic sci-fi novel DUNE was poised to change cinema forever.
Detour con gioia e un pizzico di orgoglio vi invita a partecipare alla XX Edizione dei Corsi di Fotografia di Patrizia Copponi, ex-reporter d'assalto che da più di venti anni ha deciso di dedicare la sua vita all'insegnamento, condividendo con grande passione e instancabile disponibilità la sua conoscenza tecnica e storica dell'argomento. La docente, Patrizia Copponi, è fotoreporter dal 1980. Ha collaborato con i maggiori settimanali, quotidiani e mensili italiani ed esteri. Si occupa da decenni dell’Organizzazione di attività culturali sulla comunicazione visiva e dell’insegnamento della Fotografia. Insegna al Detour dal 2012 con dedizione e passione.
Based at the legendary DETOUR Arthouse Cinema, in the heart of Rome since 1997, ON THE ROAD FILM FESTIVAL is devoted to contemporary independent cinema - fiction, documentary and experimental - presenting travelogues, urban and waste-land wanderings, real or imaginary topographies, unexpected detours, psycho-geographical drifts, migration and nomadism. We look for films that develop, through linguistic and narrative skills, a critical and inventive approach to the subject guidelines of the Festival: a traveling mood with digressions from fixed paths, where the route is what matters, not the destination. The Festival hosts screenings, master classes, meetings, art exhibitions, live performances and music, both at DETOUR Cinema and at a variety of cinema venues, film clubs, schools, public libraries and other unusual locations in Rome and and in its surrounding area.
Based at the legendary DETOUR Arthouse Cinema, in the heart of Rome since 1997, ON THE ROAD FILM FESTIVAL is devoted to contemporary independent cinema - fiction, documentary and experimental - presenting travelogues, urban and waste-land wanderings, real or imaginary topographies, unexpected detours, psycho-geographical drifts, migration and nomadism. We look for films that develop, through linguistic and narrative skills, a critical and inventive approach to the subject guidelines of the Festival: a traveling mood with digressions from fixed paths, where the route is what matters, not the destination. The Festival hosts screenings, master classes, meetings, art exhibitions, live performances and music, both at DETOUR Cinema and at a variety of cinema venues, film clubs, schools, public libraries and other unusual locations in Rome and and in its surrounding area.
HERSTORIES it is going to end! We hoped to trace a path through women’s collective narratives, to make a wide-ranging story of women’s lives, where the history of each one of us is also that of all the others. Making them actresses in their own stories. The Storytelling, telling each other, can improve our existence with the knowledge, the feeling of being part of an active collective. Talking about the past and the present to imagine together a better future, more equal, supportive. The project, planned originally during the spring of 2020, has been suspended and postponed because of the restrictions following the Covid-19 emergency and now it is virtual&real. We invited you to tell your stories. Waiting together for the next Edition.
It is our last screening of the season! Inspired by the early years of two Russian rock stars from the 1980s, Kirill Serebrennikov's film pays tribute to the Leningrad underground scene just before the dawn of perestroika. Premiered in competition at the Cannes Film Festival.