Happy as Lazzaro

A transfixing, rarely-seen 16mm miniature made as part of Rohrwacher's opera production of La traviata in 2016. In four minutes and with just a few delicate shots, she creates a moment of true cinema, one imbued with her distinct and elegant filmmaking voice.

The Istituto Luce turned ninety in 2014, its decades-long history intertwined with that of Italy itself, through cinema and that unique treasure trove of images known to all as the Luce Archives. To celebrate its anniversary, some of the most acclaimed rising filmmakers in Italy were invited to make a small film, with each director selecting ten minutes of footage from the archives, out of the thousands of hours of footage to be found there. The result is an album full of different narratives.

When the most important friend in her life seems to have disappeared without a trace, Elena Greco, a now-elderly woman immersed in a house full of books, turns on her computer and starts writing the story of their friendship.

This documentary portrait of a traveling circus family—populated with performing kids, dogs, and chickens—seems to situate us squarely in Fellini country. But Giarolo and Alice Rohrwacher are up to something far less obvious, tempering the film’s antic whimsy by capturing the dogged determination of the Solunas as they venture by overstuffed caravan from town square to town square, all the way to the Balkans.

A portrait of Italy observed through the eyes of teenagers who talk about the places they live in and imagine themselves, torn between the opportunities that surround them, the dream of what they want to become, the fear of failing, the trials they hope to overcome.

After growing up in Switzerland, 13-year-old Marta returns to a city in southern Italy with her mother and older sister. Independent and inquisitive, she joins a catechism class at a local church. However, the games and religious pop songs she encounters there do not nearly satisfy her interest in faith. Struggling to find her place, Marta pushes the boundaries of the class, the priest, and the church.

Gelsomina’s family works according to some special rules. First of all, Gelsomina, at twelve years of age, is head of the family and her three younger sisters must obey her: sleep when she tells them to and work under her watchful eye. But the world, the outside, mustn’t know anything about their rules, and must be kept away from them. They must learn to disguise themselves.

Set in the Tuscan countryside, it's centered around the theme of archeological looting and the illicit sale of artifacts.