COLIFFE
The sixth edition of the international film festival
which celebrates works from all over the world.
ITALIAN DOCUFILMS VI EDITION 2026
COLiseum International Film FEstival
1938 - QUANDO SCOPRIMMO DI NON ESSERE PIù ITALIANI
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PIETRO SUBER
FLUIRE - MICROFILM DI PASSAGGIO
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PAOLO DAMIANI
IL FORNAIO E IL MARE
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ALESSANDRO MONTONE
LA CANTINA, ALTRI APPUNTI SUL JAZZ
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ANDREA POLINELLI
The film chronicles the experiences of Italians—both Jewish and non-Jewish—during the period spanning the enactment of the racial laws (1938) and the subsequent deportations from Italy (1943–1945). It features the voices not only of the persecuted but also of the persecutors, as well as other witnesses—the vast majority of Italians who neither actively supported the implementation of the racial laws nor opposed them. This is an original work on a highly complex subject, especially given that the few surviving witnesses from that era are now very elderly, collective memory is fading, and the younger generations’ knowledge of these historical events is increasingly tenuous. The project aims to show new generations what the racial laws actually meant in the context of everyday life.
Shot primarily from above, the film is a visual and emotional journey that explores the connection between humanity, time, and nature. After twenty years spent in the countryside—thirty kilometers from Rome, on the edge of the Tevere-Farfa Regional Nature Reserve—the gaze shifts upward, offering a reflection on the meaning of existence and the possibility of overcoming the "ennui of living." Through an aerial perspective, the landscape of the lower Sabina region gradually reveals its deep-seated memory: the flow of existence as a form of acceptance, the traces of an ancient Pliocene sea that once covered these lands, and the course of the Tiber River—an age-old presence and a symbol of the constant intertwining of past and present.
Giuseppe has been a baker since he was a boy. Despite a life marked by hard work and resilience, he never learned to swim. When his friends find out, they decide it’s time to take him to the sea. The initial spark for this project came about quite simply. I have known Giuseppe for four years—he is a friend of mine—and the fact that, at 31, having worked as a baker since his youth, he had never learned to swim, struck me as the perfect starting point for a story. The structure is divided into chapters, each set in a different location: the bakery, the hangout spot, and the sea. Yet, the setting is not the core of the work; rather, it serves as a framework for what is truly essential: human dynamics.
La Cantina, altri appunti sul jazz (“The Cellar: Further Notes on Jazz”) recounts the history of jazz in Bologna and its contribution to Italian music. The title refers not only to the city’s historic jazz venues but also to a space of preservation—a repository waiting to be fully appreciated—serving as a metaphor for music as both a form of historical consciousness and a tool for research and discovery. Interwoven with the recording of a live concert are interviews with some of the most significant figures in the history of jazz in Bologna. Backstage footage—showing the filmmakers entering the venue as the owner sweeps the stairs, musicians chatting at the bar, and the audience seated at their tables—combined with exterior shots, creates a kind of personal neorealism, echoing Gianni Amico’s 1965 film, Appunti per un film sul jazz (“Notes for a Film on Jazz”).
LA TELA
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SALVATORE GARAU
LE DUE SPONDE DEL FIUME
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FEDERICO IRIS OSMO TINELLI
LE RADICI DEL FUTURO: ARBOREA
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MAURIZIO ABIS
LE VIE DELLA PASSIONE
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MICHELE DOMENICO FALZONE
Art requires concentration—and, almost always, solitude. For painter Salvatore Garau, this is an essential condition—one he chooses to challenge by bringing a large, blank canvas (measuring two meters by five) into the Massama-Oristano High-Security Penitentiary. The goal is not to teach the inmates how to paint, but rather to share his own creative energy with those unaccustomed to creative freedom—with those who are not free. Before the canvas, the inmates are given the opportunity to break free and spark a sense of wonder. This documentary film traces the challenge, the astonishment, and the evolution of a project that demonstrates the power of art and the spoken word—color that brings vibrancy even to the most stark and dreary of places.
Filmed at the small church of San Fedelino (located within the Pian di Spagna and Lago di Mezzola Nature Reserve) and in the surrounding settlements, this work unfolds as a true musical poem. It stems from a desire to move beyond the now-outdated convention of the music video—typically viewed merely as a visual accompaniment to an album—while simultaneously distancing itself from traditional cinema, which often employs a soundtrack without granting musicians a genuine role within the film’s narrative. In "The Two Banks of the River" (*Le due sponde del fiume*), neither cinema nor music takes precedence; instead, sonic and visual elements merge into a single entity. The soundtrack, composed entirely by the Ensemble Enten Hitti, encapsulates thirty years of research and experimentation. The musicians appear on screen, embodying symbolic, allegorical, and poetic roles. The title evokes a fundamental dichotomy of the human condition: the tension between nature and culture. The constant alternation between shots of the wild landscape and the built environment serves as a metaphor for the human condition—a perpetual search for balance between material needs and spiritual aspirations. A mysterious journey.
In Sardinia, a new cultural project titled “The Roots of the Future: Carbonia, Arborea, and Fertilia” has been launched. It is dedicated to promoting the island’s “foundation cities”—planned urban centers that, more than any others, embody a unique chapter of 20th-century architectural, social, and industrial history. Carbonia, Arborea, and Fertilia constitute a singular historical, cultural, and architectural phenomenon; they were established in the 1930s, under the Fascist regime, to address the needs for industrialization and agricultural land reclamation. Designed to support the mining industry (Carbonia) and agricultural activities (Arborea and Fertilia), these urban centers now represent a precious heritage—a testament to resilience and transformation. The project aims to establish a stable cultural and tourism network among the municipalities of Carbonia, Arborea, and Alghero (with the Municipality of Carbonia serving as the lead partner). The goal is to highlight these towns as sites of both historical memory and future development through coordinated activities, cultural events, and multimedia content designed to engage local, national, and international audiences. The network is tasked with coordinating initiatives, defining shared strategies, and guiding the three communities as they celebrate their unique identities—identities that remain clearly visible today in their rationalist architecture, urban layouts, and collective memories.
"The Paths of the Passion" is an hour-long documentary film that recounts the story of Holy Week in San Cataldo with profound intensity and devotion—an ancient folk and religious tradition that unites faith, memory, and collective identity. Following a journey that begins on the first Sunday after Epiphany and continues until Palm Sunday, the film traces the path of the "Crocifisso Lassa Lassa la Catina" (Crucifix), which is carried in procession through the town’s streets and welcomed into the homes of the faithful—a journey marked by deep emotion, reflection, and mystical prayer. The narrative weaves together contemporary imagery with testimonies and memories from the past, highlighting the central role of Christ in the life of the community. At the heart of the film are the faithful, the confraternities, the bearers, the participants, and all those who, driven by a deep sense of belonging, keep this centuries-old tradition alive. This work serves as a tribute to popular faith, collective commitment, and the spiritual soul of San Cataldo—created to be passed down through time, from one generation to the next.
LONTANO DAL CENTRO - CANTICO ERRANTE DI UN DJ SENZA TEMPO
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ROBERTO PILI
PATER ENNIUS: TUTTE LE STORIE PORTANO A ROMA
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ROBERTO LEONE
PRESEPIO QUESTO CONOSCIUTO
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CLAUDIO BUCCI
RACCONTARE LA LAGUNA
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PAOLO CARBONI
"Far from the Center – The Wandering Song of a Timeless DJ" is an intimate, visually poetic documentary that tells the story of Richard Di Via—known as DJ Sputo—a native of Trapani, Sicily, who made Sardinia his home and became an authentic, nonconformist figure within the Sardinian hip-hop scene. It is a personal and artistic journey that traces his youth, his electrifying encounter with hip-hop culture, his early experiments with turntables, and his discovery of DJing as a language of expression and a form of resistance. The film revisits the key milestones of his life: the challenges of growing up "far from the center"—in a territory peripheral to major cultural hubs—along with the struggles, setbacks, successes, and rebirths he experienced. Yet, "Far from the Center" represents more than just a geographical reality; it serves as a powerful metaphor. It signifies a choice: to avoid orbiting around dominant trends, to refuse conformity, and to remain faithful to one’s own vision—even when it leads off the beaten path. Being "far from the center" thus becomes an act of creative freedom—an opportunity to cultivate a unique voice, transform one’s distinctiveness into an asset, and forge a style that is both unmistakable and entirely one's own.
The voice of Ennius traverses the centuries, weaving together the Messapians, Aeneas, Augustus, and Saint Peter in a journey where myth and history merge within the landscapes of the Salento—a journey in which the past becomes a vital life force for our future. "Pater Ennius: All Roads Lead to Rome" stems from a desire to reconnect the present with the deep cultural roots that shape our identity. In this film, I explore how the voice of Ennius—poet, witness, and symbolic father of the Roman memory—can still resonate within our contemporary landscapes. His words serve as a bridge between eras, reminding us that history is not a distant archive, but rather a living presence that continues to speak through places, gestures, and silences.
Dialogo intimo con una donna cieca che ci mostra il suo sorprendente modo di vedere la vita.
This documentary film emerged from a process of research and engagement with local communities, aimed at highlighting the region’s unique values and specialties. It seeks to tell the story of the hamlet of Marceddì through the medium of film and audiovisual storytelling, involving both professional instructors from the field and the active participation of the local community. The documentary—the product of a workshop—is described by its supervisor, Paolo Carboni, as the result of a long and rigorous research process that encompassed archival materials, historical imagery, and on-site filming. Through the narratives and voices of its inhabitants—most notably the local fishermen—the work explores memories, daily life, and the challenges surrounding the management of the lagoon, while focusing on key symbolic and identity-defining elements of the area, such as the "Ponte della Terza Peschiera" (Third Fishery Bridge).
RITRATTI DI FAMIGLIA
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MANUELA TEMPESTA
SA DIE! UN VIAGGIO FRA STORIA E TEATRO
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ANGELO CAMBA
THE SARDINA PROJECT - LA GUERRA DEL DDT
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GIANFRANCO PANNONE
UN SORRISO I PERCORSI DI ANTONIO GIUSEPPE MALAFARINA
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IRENE MAGNANI
An intimate journey through 20th-century Sardinia, told via home movies and the recollections of four families from Sassari, Cagliari, Oristano, and Oliena. Through previously unseen archival footage and personal accounts, the documentary explores the evolution of the Sardinian family, reflecting on the social and cultural shifts that have shaped the island over time.
A documentary dedicated to Sa Die de sa Sardigna (April 28th)—the holiday of the Sardinian people commemorating the "Sardinian Vespers" of 1794, an uprising in Cagliari that led to the expulsion of the ruling authorities. The film combines a historical reconstruction of the revolt and its key figures (including Giovanni Maria Angioy) with theatrical elements and reenactments. It originated from a stage play of the same name, written by Marco Spiga, and weaves together the language of the theater with archival-based reenactment. Far from being a mere celebratory account, the film eschews rhetoric to explore the social rifts of the era—such as the tensions between the feudal lords of the north and the minor nobility of Cagliari—as well as the questions posed by a people who continue to reflect upon their own identity. The documentary blends performative sequences, historical analysis, and reflections on the enduring relevance of these events today.
A documentary about the epic undertaking that led to the eradication of malaria in Sardinia in the post-World War II era. During a period of great cultural ferment on the island, local scholars—such as Giuseppe Brotzu—made significant scientific breakthroughs; working alongside the Rockefeller Foundation and the Italian government, they spearheaded the fight against malaria through the large-scale use of DDT. But was it a true success? The goal was to eliminate the vector (the Anopheles labranchiae mosquito). While malaria was indeed eradicated (with the last significant case occurring in 1951–52), the mosquito itself was not entirely wiped out. The film chronicles this operation—covering ground and aerial spraying, the human and ecological costs, and the geopolitical context of the postwar period.
The documentary chronicles the life and journey of Antonio Giuseppe Malafarina, a journalist, poet, and inventor from Milan. Through his work and personal testimony, a core message emerges: the human being remains at the center, regardless of any disability. Malafarina never sought to hide; instead, he taught that there is no reason for shame and that barriers can be overcome through communication and strength of spirit.
CERCANDO ITACA
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SERGIO BASSO
ZONA BIANCA
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STEFANIA GALLO, FRANCESCO FILIPPI
Arianna, who has emigrated to Hamburg from the Greek-speaking area of Calabria—a place where a language akin to Homer’s Greek is still spoken—returns home following the death of her grandmother. Her only inheritance is a goat named Giulia. While on the beach, she rescues a drowning man, Ulisse. Believing him to be the village madman, she embarks on a journey that becomes a privileged encounter with myth, leading her to rediscover her own land. Ulisse, meanwhile, is searching for Homer’s ghostwriter: Theagenes of Rhegium.
When Stefania, an animation director, runs into a colleague—who, in the height of summer, appears with her head covered like a medieval warrior and her body swathed in a heavy protective suit—she accepts an invitation: to document a thousand-kilometer road trip from Italy to Germany, heading to the first European gathering of people who have become "electrosensitive"—that is, intolerant to artificial electromagnetic fields. Are they all just crazy, or is this an issue that concerns us, too?
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