As for the Orizzonti section, we are in the territories of experimentation, traversed by authors with undeniable talent, directors who are clearly aware of what they are doing, what they truly want, and what they are genuinely seeking. There is no shortage of great debut works, like Alain Parroni’s An Endless Sunday, in the Orizzonti Section, or Micaela Ramazzotti’s Happiness, in Orizzonti Extra. In the case of Alain, his linguistic originality is astonishing: he avoids the tired stereotypes about the suburbs and outskirts to depict these realities in a completely unique way, through a film that is pure visual and musical seduction, and anti-narrative.
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