For its complex engagement with cultural history, and its haunting evocation of personal and collective memory.

For returning us the fragmented chaos of today in a story that becomes a personal testimony of collective themes, such as culture, health, identity, family, socio-political participation, making us "feel" the noises of the world.

For introducing us to the resistance of a small indigenous community in Honduras with its clear and engaging outlook. The spirits evoked by the protagonist emerge through an succession of living portraits authenticated by a setting that is both conscious and visually inspired.

Tied with Pavilion (2012).

Tied with Noi non siamo come James Bond (2012).

One of the most original works in contemporary cinema.

A film that embodies Pasolini's poetics with a self-ironic and profound journey through the dream of cinema and the condemnation of the social condition of a working-class district that remains unchanged.

The volcano's tremors and smoke, an abandoned town, images of artworks that resist the passing of time and people who resist time only through images. Free film associations and sound manipulations permitting a personal and unexpected stream of consciousness.

A civilized scream expressed through Gerardo Marotta's words, inviting us to be the protagonists of a revolution aiming to regain the State's value intended as a common good, and not as a private interest.

With its journey through time and space, this film creates an occasion to ponder on our contemporary period; both the choice of words and the cinematographic form contribute to this reflection.

Nowadays, Cipputi is frequently a woman, a foreigner, someone alone: the toils of working compounded with the strains of living far from ones beloved. Alienation is more similar to a rip and a sense of disorientation than to an assembly chain. Who knows how many times we happened to see in our cities two foreign women waiting for the bus, with their smiles on their worn out faces, their lumpish clothes, and their incomprehensible language. How many times have we seen them without really looking at them, without even asking ourselves what language they are speaking and what their story is? To see well, to see better, we need patience. Maura Delpero, an Italian woman, has given such look (hers and ours) the time necessary to enter the world of Nadea and Sveta, two women from Moldova who migrated to Bologna. They are friends. They are mothers of children far away. They stay by the side of our elderly and far from their own. Where's home? Where's work? And where are the children? What life is it if you have to choose between work and health, and between work and maternity? Nevertheless, there's strength in Nadea and Sveta. Yet, in the strenuous details of their days (caregiving, the bench, the dance hall, the phone call) there's a light: it's infinitely stronger than in all of our neurotic privileges. Maura Delpero was able to convey that light.

On the windy Highlands, a father and daughter confront their solitude, delicate, morbid, silent, and frail. A movie on discomfort, bodies, and abandonment. A shell that opens onto freedom.

For the author's capacity of denouncing the tragedy of indifference in our modern society.

For its ability of telling through an unusual glance the human journey of an unconventional character who chases his artistic aspirations without being afraid of confronting himself with an author as complex as Pasolini.

For the director's careful attention to the images used to tell the story of a man and his places.

For the delicate approach to the lawyer-philosopher; a character who has been constantly fighting for over 50 years to safeguard and promote an idea of Culture that is based on knowledge, thought, and dialogue, through which the new generations can be educated. And for the film's ability to evoke an authentic feeling, drawing the audience and making it reflect on public ethics, which is so necessary and relevant in times like these characterized by the betrayal of public interest.

For this documentary's cinematographic qualities and its musical theme, which is treated in such a way that it manages to talk about the city in its complexity; and in particular for its way of illustrating a different way of doing things, an alternative way to the star system and the cultural industry, reposessing places and social relations.

A delicate portrait of stories of "ordinary migration" in our country, able to transmit the emotions, tensions, and uncertainties experienced by the two protagonists in their daily lives.

The extraordinary blend of photography, costumes, settings, decorations, and direction. In a moment of absentmindedness, we thought the movie was really shot in the late '70s. You feel carried away when watching this film, as if you had been transported back to those years; it's like watching a news item that was really shot at the time. The set design never overshadows the narration; on the contrary: it's so conducive to the story that it feels like it was a documentary filmed back then. The BASSAN ARTS & CRAFT AWARD will be presented by Giovanna Mezzogiorno.

For having seized the exemplary and educational value of an individual non-violent action; for documenting how an ordinary gesture, like a simple step, can crack ideological barrier; for the director's merit in humbly giving up his expectations, respecting the resistance of the person interviewed and protecting her frailty.

For demonstrating that internal conflicts can be solved through aesthetic experience, emphasizing the intrinsic correlation between art and non-violence; for denouncing how violence can insinuate itself even in the humanitarian sector, if its actions fail to understand the others' profound needs; for underscoring the universal need for roots and belonging.

For the stirring testimony of a popular non-violent action; for having demonstrated how non-violent conflict resolution can happen through the creativity, joy, and proactiveness of the contents transmitted.