An elderly shepherd takes on big business when he becomes the only holdout against property developers building a luxury resort in his tiny Sardinian village.
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'L'ultimo pugno di terra' (The Last Fistful of Land) is a 1966 documentary film directed by Fiorenzo Serra about the anguish and instability of the lower classes in a destitute Sardinia. Originally commissioned by the Sardinian regional government as a celebratory piece on the 'miraculous' effects of the 'Piano di Rinascita della Sardegna' (Sardinia's Rebirth Plan), the film instead shows an island still 'standing still in time', barely affected by the painful oxymoron of the inevitable changes taking place.
Mateo (5), Nadia (9), Mati (4) and Isabella (5), are neighbors of a settlement located in the middle of an open-air garbage dump. These little protagonists appropriate the space they inhabit from the playful reflecting what it means to grow up in La Favela.
The 1990s. The story of the longest Anonima Sequestri kidnapping, that of Giuseppe Vinci, whose family supermarket chain was spread all over Sardinia.
Francesco MATTU, a main character in this documentary, lived in various regions of Italy following his father who was a shepherd in his childhood. This outgoing and cheerful man, Francesco, once worked at the construction site, but now he settles down in Friuli. He herds sheep and produces cheese.
Two crash pilots from BravoAir have to fight crime with their dim-witted mechanic, the beautiful daughter of a beaten-up police inspector, and the mechanic's 15-year-old godson. Not only are the three of them and the little one clumsy, but so are the gangsters and the police.
In trouble with the local authorities, Mabel Simmons, notoriously known as Madea, is on the run from the law. With no place to turn, she moves in with her friend Bam who is recovering from surgery. Unbeknownst to Bam however, Madea is only using the "concerned friend" gag as a way to hide out from the police.
Kutlu and Müjdat, who live lives deprived of everything, including their surnames, and live their lives as they please in their daily jobs, realize that they need to get their lives in order when they fall in love, but this will not be easy for them.
A movie buff desperately wants to enter a theater to see a Fassbinder film but the doorman will not let him go because he has no ticket. The film is the confrontation between the two that ends with happy end.
An exploration of the myths surrounding the colorful Western heroine and both the legendary Wild Bill Hickock, with whom she had an unorthodox courtship, and the flamboyant Buffalo Bill Cody, between the 1870s and the turn of the century.
Perry Ashwell is a self-satisfied child psychologist who takes his colleagues and wife somewhat for granted. So confident is he of his position that he introduces rich attractive painter Octavio Quaglini to his office and home. Quaglini is no respecter of convention, and April Ashwell is extremely attractive.
Gerri does not like anymore. Stylishly she wants to promote herself to the hereafter. She does not mince words in her farewell letters. But then the tablets do not work. "You are not the problem, you are the solution!" Her friend Charly tries to comfort her. And she's right: Gerri grabs himself by the head, pulls himself out of the mess and orders the chaos that has triggered them.
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