After leaving a party, Andrea wanders in a nocturne and deserted Rome, interrogating himself with a strange girl about the reason that brought him to make an extreme action.

Into "Encounters at the End of the World", Werner Herzog writes: "There are deeper states of truth in cinema, and there is a kind of poetic, ecstatic truth. It is mysterious and elusive and can only be grasped through invention, imagination and stylisation'. This is the impression that Alberto Baroni's films give. In front of Le monde (a new card, after La force, of the Major Arcana of the Tarot), one feels suspended on the elusive ridge where reality and fiction overlap, as in a Fata Morgana, in a revelatory mirage. Through the figure of the mystic Mirabai of Merta, who wrote down everything she saw before she left the world, through sharp images documenting signs of life, Baroni tries to immerse himself in reality, to make transparent what is hidden, to pull back the curtain and see what lies beyond the first appearance. Pictures that follow a double movement, one centripetal, penetrating deep inside, the other centrifugal, towards a distant space. It is from the meeting of these two movements that an ecstatic truth emerges, a level of truth much deeper than that of everyday reality.

Streets, buildings, deserts, seas, mountains, burners with crackling pans, domestic and exotic animals, musical instruments, wrong perspectives, impossible architecture… This is the city of the future, an ideal and surreal metropolis to wander and maybe get lost in, not without danger. A tribute to surrealist painting, to exorcise the decline in attention on social media, which has now reached the 10-second mark.

The artistic survival instinct and the strong lack of 'going-on-stage' that Filippo Brunetti suffered from Covid-19 pandemic triggered the urge to find a solution, reviving his work and people's curiosity. A garden greenhouse as a space of freedom. ""SAX-OH!"" is the musical clown that sprout up within it, appearing as an oasis in the desert. Displayed as a rare exotic specimen, SAX-OH! exhibits multiple creative processes and plays free improvised music with his saxophone. His music is not light, but slippery, rough, dripping, alarming, joyful: make noise in the silence of that time, to continue to bear witness to the state of the art.