We all know it: we are all here asking ourselves, “How on earth is it Friday already?”
Best not to dwell on it and dive straight into this evening’s line-up, because Friday at Concorto means live soundtracking!
Let’s take things step by step: from 4:00 PM at Rathaus, the unmissable VR experience awaits. At 6:00 PM in the Salone Amici dell’Arte, we have the second part of the Play-Off focus.
The evening at Parco Raggio kicks off at 9:00 PM with the final competition films, followed at 10:00 PM by a live soundtracking of Friedrich Murnau’s masterpiece Sunrise: A Song of Two Humans (1927), performed by the Soundtracks 2026 collective under the direction of Karim Qqru.
Afterwards, at 11:30 PM in the greenhouse, join us for Giulio Sangiorgio’s talk, “War Chronicles”, followed at 12:15 AM by the second part of the Ubik Focus.
We look forward to seeing you there!
Dieu est timid (God is Shy) – Jocelyn Charles
As seen by Vanessa Mangiavacca
On a high-speed train, a boy and a girl heading no one knows quite where meet a mysterious woman through a funny quirk—or perhaps an inevitable sign—of fate. Dieu est timide is the debut short film by Jocelyn Charles, a genre animation blending horror, mystery, and a generous dose of humour. Winking at the world of Miyazaki, we are pulled into a dark and surreal adventure suspended between fear and disorientation, where the animation technique masterfully amplifies the characters’ emotions and reactions, gradually distorting the boundaries between what is real and what might not be.
Amidst apparitions, coincidences, and omens, the train journey takes on the contours of a small existential parable, playing around that age-old puzzle humans have always asked themselves: why are we here?
Whispers of a Burning Scent – Mo Harawe
As seen by Vanessa Mangiavacca
Mo Harawe returns to Concorto with his latest short film, Whispers of a Burning Scent, returning once again to his native Somalia with the observational approach that defines his cinema. As in his previous work, Will My Parents Come to See Me, the central theme is justice—this time explored through the intimate story of Hanfade, a wedding musician accused of financially exploiting Xaliimo, a seventy-five-year-old woman with dementia. Hanfade is in a relationship with her and married her against the wishes of her children. Once again, Harawe takes a private story as his starting point to expose a fracture in deeper social and political issues. Yet among the many forms corruption can take, the one on trial in Whispers seems to be the most elusive: the corruption of feelings. Who can establish the truth of a feeling, and by what rules?
Harawe neither acquits nor condemns Hanfade; precisely by withholding a verdict, he reveals the profound loneliness of a man whose truth remains inaccessible to others, in a society that seems to lack the tools to comprehend a love that spans age and social divides.
Vultures – Dian Weys
As seen by Matilde Ambiveri
On New Year’s Eve, Paul drives through the peripheral streets of Cape Town in his tow truck, called out to attend a road accident. As scavengers already prowl around the wrecked car ready to steal, Paul seems primarily concerned with one thing: securing the signature on the contract for the recovery of the Mercedes. When he discovers that another car is also involved in the crash—with someone still trapped inside—and a recovery driver from a competing service arrives on the scene, the situation rapidly devolves into a violent dispute over winning the contract.
In Vultures, Dian Weys constructs a grotesque crescendo in which the pursuit of profit comes to eclipse even the emergency itself and the chance to save a life. Paul remains cold and impassive, even in the face of the consequences of his actions, right up until the moment fear and despair take the place of his apparent detachment.
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