On December 3rd, the RIFF – Rome Independent Film Festival online ends with the traditional Love & Pride Day – Il valore della diversità. For the third year, the whole day will be dedicated to the LGBTQ topic and, among others, the premiere of the out of competition film Asphalt Goddess by Julián Hernández (Mexico), winner of the Teddy Awards at the Berlin Film Festival in 2003 and 2009. Max, after becoming the lead singer of a rock band, returns to her shantytown. Once there, memories await her, but also news and truths that have remained silent for years.
Love & Pride Day will also spotlight the European premiere of 7 Minutes by Ricky Mastro (France/Italy). A 55-year-old policeman finds his dead son in a hotel room with his boyfriend. The autopsy reveals that he died of an overdose. The desire to discover his son’s world will lead him to dangerous and destabilizing journeys. The film is the first feature film by the director of RECIFEST in Recife and programmer of the Goiás LGBTQ festival, both in Brazil.
Other films include the Italian premiere of I Am (Yo Soy) by Jaime Fidalgo (Spain). A lonely night caretaker opens the doors of his work to take us on a cathartic inner journey, where he takes off the mask he created in front of the world to finally question himself.
Paradise by Santiago Henao Velez & Manuel Villa (Colombia), World premiere. The day of the “Event” has arrived and Dalila, Jano, Daph D, Megan, Putricia, Ciara, Barbara and Zodoma are here to climb over heels, higher than any gender or identity. Together, they will broaden the limits of the imagination. Make-up will be their war color and clothes, their armor.
Unliveable by Matheus Farias & Enock Carvalho (Brasil), European premiere. Shortly before the pandemic, the world experiences a phenomenon never seen before. Marilene is looking for her daughter Roberta, a missing trans woman. As she realizes she is running out of time, she discovers hope for the future.
Ten times love by Manuel Billi & Benjamin Bodi (France), World premiere. Ten fragments of ephemeral love in the life of Numa, an (anti) romantic hero of our liquid time.
Dustin by Naïla Guiguet (France), Italian premiere.In an abandoned warehouse, a crowd of people dances techno music at 145 BPM as if they were a single body. Among them thee is Dustin, a young transgender, and his group of friends: Felix, Raya and Juan. As night approaches, collective hysteria turns into sweet melancholy and euphoria into a desire for tenderness.
Great French presence in the other films presented. Mat and her Mates by Pauline Penichout (France) produced by the French school La Fémis. A vivid and intimate portrait of some young women, filmed through their personal and collective questioning of the relationship with themselves, love, sex and the bonds they have between them.
Mauvais genre by Sarah Al Atassi (France), Italian premiere. Léto is a young gay trans boy who lives in a housing estate near Tours, France. He has a boring job in a small movie theater and looks for men in dating apps, where he only finds sex and no feelings.
Brûle by Elvire Munoz (France), Italian premiere. Maya is an apprentice in a welding workshop. She likes her boss, maybe too much. The day she gets hurt, she remains silent to preserve the business. But when she discovers she has been manipulated, Maya decides to get justice with her hands …
È solo nella mia testa by Marius Gabriel Stancu (Italy), World premiere. Andreas and Alessandro are two friends. They are, more or less, the same age and they have known each other since childhood. Andreas is quiet and suspicious, Alexander is expansive and optimistic. The first is lonely and without sexual experiences, the second is full of friends and with a long-time girlfriend.
Also featured is the masterclass of RIFF 2020, with the historian and film critic Lapo Gresleri, author of the monograph Spike Lee. Orgoglio e pregiudizio nella società americana (Bietti, 2018). The topic, Black Films Matter, will address the new black scene of US cinema: trends, styles and themes of a developing film industry that is reworking established filmic canons and undermining the Hollywood iconographic system, to offer other perspectives and alternative points of view on social issues that today, more than ever, require an urgent solution.