Cinema, Corpi [Bodies] and Convivenze [Coexistence]. These are the three key concepts behind the C-MOVIE Film Festival, a new and wholly female-focused film gathering which is unspooling 20 – 23 March in Rimini. “Cinema” in the sense of the art of storytelling which offers a window onto the world; “Bodies” as a central theme in modern-day society and in our reflections on being female today; and “Coexistence” in terms of relationships but also inclusion and multiculturalism.

Organised by Kitchenfilm, artistically directed by film director and distributor Emanuela Piovano, and made possible thanks to the help of the CNC’s Aide au Cinéma du Monde fund and Creative MEDIA Europe, the festival will showcase avant-garde movies exploring female themes in an innovative and engaging fashion, starting with the three international premieres gracing the agenda: The Last Queen [+lee también:
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entrevista: Adila Bendimerad, Damien O…
entrevista: Damien Ounouri
ficha de la película] by Damien Ounouri and Adila Bendimerad (who also stars in the film), which was presented in Venice’s 19th Giornate degli Autori line-up; the modern fairy tale My Sole Desire [+lee también:
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ficha de la película] by Lucie Borleteau, which is set in a strip-club; and legal thriller And Yet We Were All Blind [+lee también:
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entrevista: Béatrice Pollet
ficha de la película] by Béatrice Pollet, which follows a woman who denies she was pregnant.

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Likewise topping the bill are two films revolving around two extraordinary Italian female characters: La donna che riapriva i teatri, which is a docufilm by Francesco Ranieri Martinotti about Roberta Betti who dedicated her life to saving a theatre which was set to close, and Il popolo delle donne [+lee también:
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ficha de la película] by Yuri Ancarani, in which psychotherapist and psychoanalyst Marina Valcarenghi delivers a lecture on the relationship between the growing social affirmation of women and the rise in sexual violence carried out by men. Rimini audiences will also be treated to the comedy My Donkey, My Lover & I [+lee también:
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ficha de la película] by Caroline Vignal and starring Laure Calamy; Edgar Morin, chronique d’un regard by Olivier Bohler and Céline Gailleurd, which paints a portrait of the famous philosopher and sociologist and is steeped in reflections on film; and an homage to Federico Fellini (who called Rimini home) in the form of a re-screening of his movie which delves most deeply into relations between men and women, City of Women, in collaboration with the Bologna Film Archive.

The guest of honour in the festival’s first edition will be writer Dacia Maraini, who’ll be sharing footage shot on Super8, and whose movie Conjugal Love, starring Macha Méril, will also be screened in Rimini. Barbara Bouchet is another of the festival’s guests, attending the screening of Mauro Bolognini’s Down the Ancient Stairs, which sees the icon of ‘70s and ‘80s Italian comedy acting alongside Marcello Mastroianni.

A series of meetings and conventions with industry experts, directors, actors and film professionals are likewise on the agenda, to discuss and reflect upon the role of women in contemporary cinema and their representation in the media. One such important reflection will revolve around the presentation of the research project “Women directors in the mirror of the press”, which is an analysis looking back over twenty years of reviews of films directed by women published by the Italian media.

Last but not least, three conventions are set to unfold, inspired by themes tackled by films which are screening in premieres in Rimini: “Mediterranea – the new Mediterranean for women” [Translator’s Note: “mediterranea” being a subversion of the male-gendered “mediterraneo”], which uses The Last Queen as a basis from which to explore Mediterranean films directed by and revolving around women; “The first women in the dock – who’s afraid of Joan of Arc?”, which will offer up reflections on the female body and cover themes explored in the movie And Yet We Were All Blind; and “Women’s festivals – equal opportunities or necessary disparities?”, which probes the concept of freedom employed in Lucie Borleteau’s film to get to the heart of cinema, by way of female-focused festivals.