In the story of Gilgamesh and Enkidu from ancient Iraq, that is more ancient than the holy texts, it is woman—her body and soul—who is the savior. But in several Abrahamic religions, women do not have an equal ‘space’ with men.

La Vita è Bella cannot help but inspire. Maybe because we are living at the end of the 20th century with a number of questions that haunt us both before and after we enter the cinema: in a world with millions of Giosuès, is it true that life, also beauty and cruelty, are in the end a matter of how they are interpreted for us?

Power never exists in perfect form. It is rather the sign of something lacking, but it is effective because it produces main actors who can differ from one another, yet be of one desire: to overcome that sense of lack.

Hyperion, the tallest tree on earth, is not alone. Its arrogance is the fruit of fantasy.

In Sandhyakala Ning Majapahit, Damar Wulan is troubled as he confronts philosophical questions about the meaning of life, why he must die, and whether so-called good and bad exist.

In a crime of passion, people can act brutally in a flash: an explosion of uncontrolled emotion sparked by jealousy.