Eugenia Capizzano

Three situations of vaguely theatrical origin, stripped of all outer clothing, reveal the track of a different cinema. whose realism seeps into the cracks of his apparently self-contained, closed world.

Young Cornelia arrives at her father's old house to take her own life. As she attempts to accomplish her mission, she is continually interrupted by unexpected apparitions: a mysterious girl, a thief, and a lover.

Irene moves to Paris to begin a new life with her husband Jason and their two daughters, but an act of betrayal and her desire for revenge soon sends her to the brink of madness.

Lucas, a young lawyer obsessed with crime novels, turns a chance encounter with a beautiful woman into a date ending in his bed. But when he wakes up alone, missing a secret stash of cash, the game’s afoot. Inspired by his favorite gumshoes, Lucas looks for clues. What was once a love story becomes the caper to end all capers.

Empty Nest tells the story of a couple who have to struggle to find themselves after their children grow up and move out. It starts out as a fairly simple story of a couple but becomes complicated by a series of events that may or may not be occurring only in Leonardo’s mind.

Three young women at home, the eye of the camera doesn't leave them for a moment and shows them first in a narrow kitchen, then in a small bathroom in front of a mirror, then in a bare living room where they spend part of the evening. The three are the mistress of the house and her servants, and the film is based on Les Bonnes by Genet. The servants pretend to unite to varying degrees against their mistress, and she, in turn, pretends to be a mistress who doesn't give explicit orders but who makes herself admired anyway. Each one of them plays the part that is most congenial to her.

A unfulfilled man tries to find something to ling to, traveling from town to town, in one of them he'll find enough reason to stay.