Cinema in Festa, the ticket costs only € 3.50: here are 5 films to see

From 18 to 22 September Cinema in Festa takes you to the theater for only € 3.50 throughout Italy and for all programming: we recommend 5 films

Cinema in Festa is the new, beautiful initiative organized by ANICA and ANEC with the support of the Ministry of Culture and the collaboration of the David di Donatello – Italian Cinema Academy. For an unprecedented five days, from 18 to 22 Septemberthe cinema ticket costs only € 3.50. It will be only the first edition of a project that spans 5 years, from 2022 to 2026, with two annual events, in September and June.

The project extends over all Italyfor all films in programming and for every age group, without any limitation. However, we recommend that you visit the dedicated site to check the reported screenings and the affiliated rooms, respectively in the sections “Movies” And “The cinemas“. In addition to the reduced ticket, Cinema in Festa promises to give access to exclusive events, masterclasses, meetings with actors and directors and much more. In the meantime, we at have decided to advise you 5 movies to see, chosen from those in the dedicated section. Good vision!

Avatar – James Cameron (2009)

You got it right. From 22 September – which coincides with the new releases on Thursday and at the same time with the last day available to join Cinema in Festa – the visual masterpiece that once belonged to James Cameron returns to theaters. A watershed film in the history of cinema, which further pushed the limits of what is possible in terms of special effects and computer graphics, as has always been the case in James Cameron’s filmography. But perhaps never up to this point and not even with the cinema that, like it or not, he helped to create. The very idea that the big blockbusters – and Avatar is the biggest of them all, with the highest grossing in history (not considering inflation) – could be built almost entirely on CGI. Cameron’s film, which certainly will not need any other introduction, especially in terms of plot, returns to the cinema in view of the release of the sequel (Avatar: The Shape of Water) from December 14, 2022. It will be only the first of four sequels , out every two years until 2028, which James Cameron is shooting continuously. A productive approach already thought out from start to finish, which does not find many other equals in history except for the trilogy of The Lord of the Rings by Peter Jackson. Suffice this, on Avatar: the filming of the fourth chapter (!) Began less than a week ago.

Drought – Paolo Virzì (2022)

Paolo Virzì’s filmography is one of the most popular on the Italian scene, as well as at home and abroad. Over the years he has affixed his directorial signature to small, great masterpieces: more recently The magical nights (2018), but also the highly awarded Human capital (2014), Best Film and Best Screenplay at the David di Donatello. This time Virzì passes from the very recent Venice International Film Festival (which has just ended) with Drought, a story of loves and belated ecologies, of the future of a generation and of how it was taken away from the previous one. A few more years without properly fighting the climate crisis and Rome will have turned into a desert, complete with dried up Tiber and caravans and camels bivouacking in the middle. We are obviously in a black comedy (not so much) of the absurd, where however the collective drama acts as a background, as always for Virzì but this time apocalyptic, around the private dramas of a never so rich cast: Monica Bellucci, Emanuela Fanelli, Silvio Orlando, Valerio Mastandrea, Sara Serraiocco, Vinicio Marchioni, Tommaso Ragno, Max Tortora, Gabriel Montesi and many, many others.

Broker (The Good Stars) – Kore’eda Hirokazu (2022)

The only truly forgettable business card of the film that passed through Cannes 75 and that we have already reviewed, to be honest, is the title that has been awarded to it in Italy, which makes it seem like just another comedy for broken hearts. In reverse, Broker it is a small, very sweet, fragile pearl of a masterpiece. Behind is Kore’eda Hirokazu, former director of the Palme d’Or for A family business in 2018. One of the most recent films that contributed to the revival of Eastern cinema in the eyes of Western audiences, followed by the South Korean Parasite. Oddly, though Broker represents a clear return to the fold of the themes dear to Hirokazu (family, birth, orphanhood), the director decided to shoot in South Korea, perhaps sensing the standard-bearer role assumed by Seoul in the future of auteur cinema. Not surprisingly, he came out of Cannes 75 with Best Actor in Song Kang-ho, already a fetish of Bong Joon-ho. He is one of the two protagonists of the film: two employees of an orphanage, highly indebted, who try to survive by selling foundlings who otherwise would not be adopted. But for once, things will get more complex than expected and the two will find themselves, aboard a minibus reminiscent of road movies at Little Miss Sunshinetraveling all over the country in the company of a very young prostitute and her son he was about to abandon.

Vengeance – BJ Novak (2022)

In order for the list of recommendations for Cinema in Festa to be complete – and we are not finished yet – we could not miss a title coming from independent cinema with a tastier genre. A small, at times even clumsy and eccentric, as genuine first work that sees a Hollywood star as director known for many other roles, all on the other side of the camera. The BJ Novak who serves as a director but also as a protagonist here is best known for the role of the hateful Ryan in the sitcom The Office US and for the Soldato Utivich – alias “Il Piccoletto” – in Inglourious Basterds by Quentin Tarantino. Here he plays a radio host who, informed of the suspicious death of a nearly unknown girl with whom he had a one-night stand, travels to Texas to investigate the alleged murder and make his own story of the century. A b-movie that mixes dark comedy and noir pulp recontextualizing them in the modern era and with modern means of journalistic investigation: podcasts. In the background, a panorama of deep American rednecks, fixed with weapons and interpreted, among others, by two unpublished Boyd Holbrook (Narcos) and Ashton Kutcher (Two men and a half). Paraphrasing the Buggles: Podcast Killed The Radio Star.

Moonage Daydream – Brett Morgen (2022)

For the most refined palates, it closes with a flourish in a documentary that, in reality, does not resemble any biographical and musical documentary you can think of. Masterpiece announced by the last Cannes Film Festival, Moonage Daydream by Brett Morgen – long-time documentary filmmaker, also but not limited to in the recording field, already nominated for an Oscar in 2000 for On The Ropes and who could play a nomination for this latest hallucinogenic enterprise – retraces more the psyche and the work, that properly the life of David Bowie. Hundreds of archival materials including live and studio recordings, interviews, period recordings and visual experiments form the only narrative framework for this docu on the White Duke. It is an unprecedented narrative experiment that replaces the classic interview documentary with a soundtrack that never stops. To be the narrator, only the voice of Bowie and his interviewers. A journey of psychedelia and synaesthesia designed to capture and encapsulate David Bowie’s hermaphroditic and multifaceted philosophy.

Which or which of these films will you choose for your Cinema in Festa? For other tips, reviews and latest updates from the world of cinema and seriality, keep reading us on

Cinema in Festa, the ticket costs only € 3.50: here are 5 films to see