MedFilm Festival 2010
Mediterranean Cinema in Rome
16th edition
Rome 11/21 November

SPAIN and LEBANON as the Guest of Honor


MedFilm Festival, the main film festival in Italy that promotes the dissemination of European and Mediterranean cinema, will take place in november in Rome.

From November the 11th to the 21st, MedFilm Festival 2010 will offer, as in its best tradition, a full schedule of screenings, special events and meetings with the authors: a selection of the best Mediterranean and European films, including feature, short and documentary films, many of which are previews.
A Grand Tour that from the Southern shores takes you to the new territories of Eastern Europe, introducing the Italian audience to great authors and young talents capable of representing modern times and redefining boundaries and mutual points of contact.


Manifesto Settimana del Cinema Italiano ad Istanbul - II Edizione

> Cinema Alkazar
> Pera Museum

in collaboration with
Italian Cultural Institute in Istanbul

Italian cinema raises its 'head up'. The title of Alessandro Angelini's film, chosen as the closing film of the festival, helps us to summarize in a few words the age of a revival. A kaleidoscopic modern day Italy, made up of micro-stories and dialects, secondary characters and heroes, great writers, talented newcomers, an explosion of points of view that describe the complexity of our times.
Whether it be through the sharp lines of comedy, or through the dismal interiors of a personal drama, what always emerges is the filmmaker's quest to portray with authenticity, the sentimental and political state of a country which draws the strength to rediscover itself from its situation of historical uncertainty.
Ivano De Matteo's The Beautiful People, the opening film of the Festival, shows how, with acute, yet modern, simplicity, it is the bourgeoisie and intellectual world who come out the worst from this harsh analysis, which reveals their hypocrisy, their lack of courage and the fear and confusion created by their loss of identity. Whereas the common man, instead, comes out from this analysis with flying colours. He is in credit with life and, now more than ever, in every corner of the globe, he is no longer afraid to shout out his desire for redemption, and his will to grab on to his dreams, for a moment or for the rest of his life.