LIDF 2018
plus extra film screenings all year around
Sponsorship and Advertising | Press | Log in


LIDF18 Festival Passes

Now in it’s eleventh year the London International Documentary Festival presents another strong and diverse line-up, investigating areas of personal and global politics. This year’s films come from over 28 countries and are directed by established as well as first-time filmmakers. It’s a provocative and inspiring lineup presented in timely strands that are designed to spark debate.

See the Official Selection HERE


(please note prices are in Euros and tickets must be bought in advance)


DAY PASS (11.00 – 22.00): 40 euros

EVENING SESSION (18.00 – 22.00): 25 euros

MORNING AND AFTERNOON: (11.00 – 18.00): 30 euros




Piazza Vittorio
dir. Abel Ferrara (featuring Willem Dafoe): 15 euros

Buy your tickets

LIDF18 Opening Night

Abel Ferrara’s documentary ‘Piazza Vittorio’ (featuring Willem Dafoe) to open the LIDF18.

Piazza Vittorio is the biggest square in Rome. Both the square and the adjacent districts of the Esquiline stand out for the multiethnic variety of their inhabitants. Here, in fact, we find a range of ethnic groups from nearby and far away: Romans, Asians, North Africans and Indians who make the square and neighbourhood a lively place but at the same time one that is not easy to manage. Precisely because of its unique and colourful nature, many artists and other figures with ties to the world of cinema, like Matteo Garrone and Willem Dafoe, have chosen to make it their home. Among them is the great director Abel Ferrara, who has decided to portray this world from his own independent and poetic point of view, putting himself physically on the line in the production of the film. Out of this has come a surreal and neorealist picture of a day in the square’s life, with interviews with illegal and legal immigrants, tramps, artists, proprietors of businesses and politicians who give their personal accounts of the place. It is the portrait not just of a square, but of an Italy that is changing and that is trying at all costs to go down the road of integration, often underestimating the side effects.

LIDF17 Festival Passes

Now in it’s tenth year, the London International Documentary Festival presents another strong and diverse line-up, investigating areas of personal and global politics – and provoking and encouraging audiences to respond to them. This year’s films come from over 45 countries and are directed by established as well as first-time filmmakers. It’s a provocative and inspiring lineup of over 100 films presented in timely strands that are designed to spark debate.



LIDF17 Official Selection click HERE

TICKETS (please note prices are in Euros)


DAY PASS (10.00 – 22.00): 30 euros

EVENING SESSION (18.00 – 22.00): 20 euros

MORNING AND AFTERNOON: (10.00 – 18.00): 20 euros




Achetez vos pass

‘Flâneurs’ (‘Street Rambles’)


Between film projects and following the birth of his daughter, a Canadian in Paris must confront his slacker lifestyle and decide if there is something in it worth passing on to the next generation, or if he is better off getting a job. In search of the remaining traces of flâneurs (19th Century wanderers of Paris), he takes his daughter on a series of poetic strolls in which he assumes the role of a contemporary flâneur and crosses the path of people who help reveal the relevance of such a figure today. In the movement back and forth between the filmed streets of Paris and scenes from the domestic life of a young father, a dialectic emerges between a baby experiencing and making sense of the world and these wandering men trying to do the same.

French/English with English/French sub-titles


FILM: ‘Flâneurs’ (‘Street Rambles’) directed by Matthew Lancit (80 mins)

DATE & TIME: Friday 3rd March – drinks from 8pm, screening starts at 8.30pm
CINEMA: Mac-Mahon – 5, avenue Mac-Mahon 75017 PARIS
TICKETS: €9 full price; €7.50 for students and other concessions. (+€5 for a drink and snack)
DRINKS & SNACKS: Available for purchase ONLINE ONLY when buying tickets. Alcoholic (‘La Parisienne’ beer or French cider) and non-alcoholic (Paris Cola or Organic French juice) drinks available, accompanied by a choice of 2 different flavours of Tyrrells popcorn


Flâneurs – Interview


Interview with director Matthew Lancit

Where are you from and how did you end up in Paris?

I grew up in Toronto, Canada. I lived in New York for a few years, before quitting my job in advertising to bum around Europe until I had squandered away most of my savings. There, I met a French girl and followed her to Cameroon, where I made my first feature-length documentary Funeral Season. Soon after that, Blandine and I decided to settle down in Paris.  

How did you first experience this new city of Paris?

When I arrived in Paris I had no working papers and my French was limited to the names of the fruits and vegetables – maybe a few animals. The time between creative projects was dragging and the line between idleness and depression became more and more vague. I had few friends and nothing to do with my days. When the few French friends I had learned how I passed my days – reading in the park, going to the movies, walking around different neighbourhoods – their response was: “You are a real flâneur!” When I looked up the word online, I could not find a suitable English translation, so my curiousity grew and the question what is a flâneur? became interchangeable with the question: who am I?

Was it already underscored by ideas of flâneurism? Did you know Baudelaire etc?

Well, most of Paris is a museum, and the flâneur is kind of a relic of the past. So, yes, I was aware of Baudelaire as a kind of archetype, but I’m not sure how much of his poetry I had actually read. After doing a lot of research on flâneurs in Paris at the end of the 19th Century, I was fortunate enough to receive a grant from the Canada Council of the Arts to make this documentary. But I was also in the process of becoming a new father at the time, and I questioned whether I could sustain this flâneur lifestyle while assuming a responsible father-figure role. It seemed that society would not allow it. And it occurred to me that the figure of the flâneur has become increasingly pushed to the margins of our speed and work driven society. So, I became curious to see if there were other people like me on the streets of Paris and if the flâneur is something still relevant today.

If, so what do you believe the flâneur is?

I hope that the film can better answer that question than I can.

What insights can the flâneur bring?

I’m not so sure that a flâneur should concern himself with bringing any big insights to the world. I think it was Apollinaire who defined the flâneur as someone who walks with no particular destination in mind. I don’t want to make people think anything; I just want to stop and give people pause. Then they can decide if something is good or bad, ugly or beautiful, but the important thing for me is to open up a moment of reflection. As for the destination, I trust that people will recognize it once they arrive.

Is the flâneur an insider or outsider?

Both. The flâneur is simultaneously a part of the crowd and apart from the crowd. Baudelaire explains that the flâneur follows the movements of the crowd like a bird follows the currents of the air, or a fish moving in water. We all need to sometimes immerse ourselves in a humanity bath, so that element of the flâneur is very much ‘inside’. But it’s increasingly difficult to find a crowd. And when you do, people are rushing to and from work, with their eyes and fingers entrapped by devices luring them toward the virtual world. Being aware of this, the flâneur pauses to look around and consider this phenomenon, which ultimately places him ‘outside’ of it. But then he wants to get back ‘inside’, but by his terms. He seeks interactions with passers-by; he marvels at obstacles along the path; he makes the street into his own home. And so, he slows down the pace of the crowd, and we have no patience for that in our work driven, modern society. So we push him back to the side. The more he wants to get ‘inside’ the further he finds himself ‘outside’. Even today, when he can’t really get away with refusing to work, the flâneur is always borrowing the world’s uniforms and uncomfortable in all of them.

For Walter Benjamin the flâneur heralded an incisive analysis of modernity, an investigator of the city, but also a sign of the alienation of the city and of capitalism. As such the flâneur is also a symbol of resistance, an antibiotic in the bloodstream of the alienated city. Do you feel that flâneurism can only ever be a private act, an isolated subjectivity, or can it be part of a wider social movement?

I think that the two are intertwined. Historically, the flâneur has been a pivotal influence on many social movements that came after: the surrealists used to wander around forgotten parts of the city in the daytime and through the Buttes Chaumont Park on the outskirts of Paris at night; the psychogeography of the situationists and the practice of the derive sometimes extended a flânerie for days on end and into a space beyond a walker’s accepted limits; even today, there are countless groups of urban explorers, urban artists, and urban developers attempting to convince us to rethink the city. But I believe that which differentiates the flâneur from the badaud is always personal. What you put into an experience and what you get out of an experience is always going to be your own, but hopefully it will have a positive contribution to the world around you. 

Before I began shooting this film, I went to an exhibit on Walter Benjamin at the Musée d’Art et d’Histoire du Judaïsme to further research his writings on the flâneur and Paris at the end of the 19th Century. But it was a little notebook that grabbed my attention instead. On this notebook he had marked the phonetic development of his son. This was about a week before my daughter was born, and I promised to keep a similar notebook tracing her own development. About four pages in, I quit. But I picked up my camera and began to make this film instead. And it was only when I found myself slowly pushing her stroller down the street with a camera braced to my shoulder that my search for the flâneur entered the present.   

Your film is interesting not only because of the encounters within it but also because of its sense of duration. It appears that you found an internal coherence and matched subject and form. Do you feel that this sense of duration is in itself a message?

I don’t know if it’s a message, but the slow pace of the film is certainly intentional, and very much against the grain of most of the films we’re exposed to today. It was important for me and my editor that the film be its proper flânerie. Ideally, I suppose that I’d like for people to come out of the film feeling like they’ve just experienced a flânerie for themselves. It’s okay with me if your mind wanders at times while watching this film. I don’t need you to be gripped every couple of minutes by some piece of action or dramatic revelation. On the contrary, I’d prefer audiences to step off their tenterhooks; to lean back and take a moment to breath; to feel free to drift around in their own thoughts for a bit. That’s what I do when I’m with a good book or in front of a painting I like. The challenge was making the film light enough that people would want to come back into it, and that the feeling of coming in and out of the film would be seamless enough that an audience wouldn’t be bored by the slowness of the film. Many people come out of the film telling me that they appreciated it because it reminded them of when they used to have the time to flâner. Others tell me that they are not at all flâneurs, but that they appreciated the opportunity to have entered my world and that they now feel they understand me better. I don’t know if audiences return to their flâneries or decide to begin flâning after watching the film, but this film opens up the possibilities.  

How difficult was it for you to adapt to a new city, a new life? Were you a natural flâneur or was flâning forced upon you?

Firstly, I’ve noticed that Parisians tend to be bored by their city, and when you’re a foreigner you look at things with a sort of enchanted gaze. But it’s not the same as being a tourist because, without a return ticket home, you’re set adrift into a world of uncertainty. If you want to, you might just get lost. I think this goes back to what I was saying before about coming to Paris without mastering the French language and not really having the necessary papers in order to find a job. But most unemployed people don’t feel the will to spend their time flâning. That’s not to say it’s impossible. We must acknowledge the social conditions that make things like leisure and beauty possible without designated them to the privileged few. It takes more than circumstances to make someone a flâneur, and I have always maintained that essence precedes existence.

Documentary Photography Workshops and Folio Review

The LIDF Documentary Photography Workshops and Folio Review are organised by the London International Documentary Festival with the participation of the Twenty Twenty Agency.

There are 24 workshops places available for both days and 40 participant-observer places for the Folio Review on Sunday 5th February.

The practices of photography and film-making share a rich history. In the past decade new technologies have caused boundaries to blur and opened up possibilities for professionals and citizen journalists alike. Twenty four photographers will be given the opportunity to take part in a 2-day intensive Documentary Photography workshop lead by internationally acclaimed photographers and photo editors with a limited number of places available to observe and participate in the folio reviews.

The Workshop and Folio Review
Aimed at advanced amateurs or young professionals with a good understanding of photographic practices, the event will lead two intimate groups of 12 individuals through an intensive 2-day program of shooting, mentoring, reviews, group critiques, and, culminating in the exciting opportunity to ‘pitch’ their work for folio review to leading industry professionals. Participants will work together with their peers and a professional photographer to develop their own individual visual language, photographic identity and practical, technical and conceptual skills required to compete in the ever-changing marketplace. The classroom sessions at the beginning and end of the day will focus on the practice of editing and group critiques. Together these activities form the backbone of the learning process and are integral to the workshop experience. The workshops will be based in central London, with good transport links enabling participants to travel easily around the city. 

Tutors and Reviewers

Peter Dench (
Peter is based in London working primarily in the Ad, Editorial and Portraiture fields of Photography. A distinctive and often quirky style has guaranteed regular commissions from a range of respected international clients. In 2010 Peter was placed 2nd in Advertising at the Sony World Photography Awards.
Clients Include: TIME, New York Times Magazine, STERN, GEO, Sunday Times Magazine, NEWSWEEK, Weekend Guardian, Telegraph Magazine, GQ, Tatler, Marie Claire, CN Traveller, NEON, Liberation, Esquire, Observer Magazine, Observer Sport Monthly, Highlife, Financial Times Magazine.

Frede Spencer (Founder of the Twenty Twenty Agency)
Born in Denmark 1973, Frede Spencer studied photography in Denmark before moving to England in 1996 to do a BA in Photography at Nottingham Trent. He moved to London in 2000 and started working at Katz Pictures, before moving to Corbis in summer 2004 as an assignment photo editor/agent. Frede now runs his own photographic agency, Twenty Twenty Agency, which represents editorial and commercial photographers. He’s interested in seeing editorial, advertising and portrait images.

Nick Cunard (
Nick specialises in location portraiture, human interest feature stories, successfully pitching picture led feature stories direct to national/international editorial, longer term documentary flavored projects for print, web and exhibition, stills and moving images plus words. He is owner at Nick Cunard : Stills Moving, partner at CHI-photo, and contributor at Eyevine.
Clients include: Stern Magazine, The Guardian, London Evening Standard, The Independent on Sunday, Metro International, DFID, CIMA , LDA,

Preparation for the Workshop
Photographers should include a portfolio of 5 images when booking for the workshop. Portfolios should reflect your photographic interests and style. You should be comfortable with your equipment as you will be expected to arrive at the workshop ready to photograph. Participants will be asked to arrive with at least one project idea to develop during the workshop. So that everyone can make the most of the intensive sessions, we strongly recommend that each participant conduct preliminary research before the workshop begins, and be aware that they will be responsible for their own project coordination. The preparatory research should include contact liaison, access information and, if appropriate, some preliminary shooting (still or moving image). All projects must be conducted within central London and be feasible to complete within the workshop day. Due to the fast pace of the workshop, we recommend that participants produce and edit their work digitally, using their own laptops

£285 (including coffee and lunch)

Observer Ticket for Folio Review
£40 (including coffee and lunch)

Travel & Accommodation
Participants are expected to make their own arrangements regarding travel and accommodation. 

4th – 5th February 2017


To book for the 2 day workshop CLICK HERE

To book as a participant-observer for Sunday 5th February CLICK HERE

For queries please contact:




For a few years the LIDF worked in Pakistan. Working with young people to make films about their reactions to violence and their hopes for their country. It was one of the most positive outcomes of the LIDF.1. Those young people developed and they have a lot to say. We have remained in touch. Next year we will go back to Pakistan for a series of screenings and debates.

Selection 2

Other Than Our Sea | 10 | Valentina Ferrandes | Italy

From the relics of an ancient greek colony in Southern Italy, to modern day shipwrecks in the Mediterranean Sea, a story of exploration told through fragments of classical literature, flashes of ethnographic films and manipulated excerpts of current newsreels. Referencing the recent tragic circumstances that have drowned thousands of migrants departing from Northern Africa to seek asylum in Europe, the film looks at the idea of traveling at sea in times of conflict. A journey that can be a leap into the unknown, a voyage of discovery, or forced migration, death as well as rebirth.

Downtown Village (Pequena Aldeia) | 13 | Luciana Nanci/ Priscilla Pomerantzeff | Brazil

Enrique looks at Roosevelt Square from his window. The gaze of an immigrant upon one of the most diverse and one of the only actually occupied public spots in São Paulo. Before his eyes an unusual village-like life in the heart of South America’s largest megalopolis unfolds. Enrique contemplates life away from his origins and the passing of time through his memories and the digital impressions taken amongst the urban noise.

I Have a Weapon | 22 | Ahmad Shawar | Palestine

The story of the Palestinian village “Kafar Kaddoum”, which enages in a weekly march to demand the retrieval of land after it has been confiscated by Israeli occupation forces. The film foucuses on the popular resistance techniques that participants are adopting.

Repoman | 15 | Giacomo Gex/Bruno Gex | Spain

A day in the life of a repoman in Los Angeles, USA.

The Dream of Shahrazad | 107 | Francois Verster | South Africa

Weaving together music, politics and storytelling, the film explores recent Middle East events through the metaphor of THE 1001 NIGHTS. Drawing on Shahrazad, the storyteller princess who saves lives, a Turkish youth orchestra conductor, an Egyptian storytelling troupe, a troubled Lebanese actress and others put creativity to new political use.

A Tale of Love, Madness and Death (Un cuento de amor, locura y muerte) | 22 | Mijael Bustos Gutiérrez | Chile

The film director’s uncle is schizophrenic and his grandmother suffers from a terminal illness. The grandfather who is unable to take care of both, must decide between his wife or his son.

Dream of Sara (Sonho de Sara) | 8 | Gabriel Sanna | Brazil

A car crosses the landscape, images converge in the unknown. An experimental visual poem.

Nowhere Place | 27 | Susanne Opstal | Netherlands

Where do you find the essence of your existence? On the peaks of the highest mountains in the world? Even higher, on an uninhabited planet from which you can never escape? Or is it in the deepest sorrow, by leaving a trail of destruction that will never be forgotten. This essay documentary follows various people on their quest and inevitably leads to the question: how far do you want to go?

White Nights | 20 | Rola Shamas | Iran

Street musicians on New Year’s Eve play to make a living. They face a difficult situation but in the end the show must go on.

Dissonance (Dissonans) | 29 | Theis Mølstrøm Christensen | Denmark

Søren and Malene met and fell in love by playing and improvising music together. They had a child, but were shortly after both diagnosed with cancer. They haven’t played music together since. This film creates three rooms where the participants can play and once again find their common tune.

Festival Directions

At 21.15 on the 6th August 1932 the first Venice Film Festival opened with a screening of Rouben Mamoulian’s ‘Dr. Jekyll and Mr. Hyde’ and with it the era of the film festival began along with an abiding template of red carpets and glitz. The choice of film both prescient and appropriate.

All festivals, whether large or small, are Jekyll and Hyde and attempt in some way to emulate the model of indulgent exclusivity, parties, awards and screenings, while at the same time a more sober approach towards art and thought and its consequences. But, most festivals are not like Venice or Cannes or Berlin. The majority of festivals are small precarious affairs that last maybe a few days and if they are lucky more than the average festival lifespan of three years.

According to the recent study by Stephen Fellows there are roughly 3,000 recognised active film festivals, of which almost 2000 take place annually. This seems a lot and of these 3,000 only a handful will be backed by serious money or covered in any depth by print or other media. More remarkably the number of films screened at these festivals is relatively small when compared to the total number of films produced each year. The same films pass from festival to festival, programmers study other programmes.

Does all of this become stagnant? The power of a festival it has been assumed for many decades was the shine and esteem bestowed by participation and hopefully prizes at a event clearly defined by geography and duration. You had to be there. Today the situation has changed and the possibilities for distribution, for exposure of a film are no longer limited by the duration of a festival or the size of its screening rooms. Social media, Vimeo, Youtube and other platforms (new on-line platforms are being developed each day) present possibilities for ongoing exposure to vast audiences. Exposure through festivals is now dwarfed by on-line potential. This being the case what do festivals in their present form offer filmmakers?

There has been much talk recently of film festivals undergoing a crisis of identity. What in the present moment of on-line ubiquity do festivals contribute to the distribution, visibility, financing and engagement with films? What do they do for audiences, for filmmakers, for themselves? If films are made to tell a story, then what is the purpose of story-telling and how best to maximise the impact of any given tale? What can festivals offer that goes beyond the standard model?’

To return to Venice and its festival of today. Paolo Baratta, President of the Biennale di Venezia, said in a speech at this year’s Venice Film Festival: ‘We are aware of the growing competition among many festivals and of the growing competition between these festivals and other forms of promotion on the film market. We are equally aware that, as the competition grows, it becomes increasingly important for a festival to systematically pursue its own pathway in the medium-term, with its own formula and its mission clearly in mind. Steadfastly, we have kept true to the principle that a festival must provide a counterbalance to the market maelstrom with a vision that is autonomous, free of the banners at marketing’s disposal; banners which, alone, can lead to passivity and conformism.’

A festival should be a fertile ground for encounter and exchange. However, that ground changes over the years. The Venice Film Festival itself has since its inception in 1932 evolved and changed direction often under the weight of historical events. It has been competitive and non-competitive, there were three non-consecutive years during the 1970s when it did not even take place.

Just as, according to the sociologist Zygmunt Bauman, society is being transformed by the passage from the “solid” to the “liquid” phases of modernity, where the ‘solid’ structures of modernity are no longer adequate and instead ‘liquid modernity’ captures succinctly the changing nature of knowledge in our society, so a festival, which is a form of knowledge provider must evolve into a form that coincide with changes of knowledge acquisition and production within the wider society, taking account of new technologies and lived experience and the possibilities of a global interaction no longer tied to a specific place or a time.

The festival form that sufficed for so long now seems inadequate for the challenge of not only reflecting the work but actively increasing dialogue and exchange. The ‘static’ form of a festival, a few days in which a few people gather in a single place, does not reflect the fluidity of liquid modernity.

So, what sort of form can the LIDF take? A form that would create a festival more relevant and efficacious, more engaging and dialogic, more in tune with its original aims as opposed to being dominated by the demands of the peripheral? How can it editorialise content better, contribute new distribution models, prolong engagement with content and filmmakers, stimulate in-depth dialogue, educational possibilities and social activism? And finally, how can it replace a hierarchical model of ownership and participation with a cooperative one in which the festival does not merely try and represent many voices but is constituted by many voices?

The festival came about because a small group of people decided that a pocket was a pocket of resistance.

NEXT: Festival Futures

LIDF16 Selection Firsts

LIDF16 Selection – Part 1

Overwhelming Majority | 11 | Joseph Irvin | USA

Overwhelming Majority is an experimental documentary short dealing with issues of loneliness, alienation, and social anxiety. A young woman recounts a suicide attempt, muses on the nature of connectedness, and ultimately yearns for understanding

Flâneurs – Street Rambles | 79 | Matthew Lancit | Canada-France

Between film projects and following the birth of his daughter, a Canadian in Paris must confront his slacker lifestyle and decide if there is something in it worth passing on to the next generation, or if he is better off getting a job. In search of the remaining traces of flâneurs (19th Century wanderers of Paris), he takes his daughter on a series of poetic strolls in which he crosses the path of people who help reveal the relevance of such a figure today.

Mum, Me and the House | 38 | Marjolijn Prins | Belgium

When Debbie (47) is diagnosed with cancer her son Sam (27) decides to postpone his plans to travel the world. He is convinced the incessant work renovating her dream house on the French countryside is the main cause of her illness. Together they undertake a journey to find the right course of treatment. Though this brings them closer together than they’d ever been, whenever they get back to the house, Debbie falls straight back into her old, industrious habits.

Transit Zone | 32 | Frederik Subei | UK

Set in the mysterious murky confines of the ‘jungle’ in Calais, Transit Zone follows Teefa, a young man who fled the regime in Sudan with big dreams of a new life in the UK.

Sit and Watch | 37 | Francisco Forbes / Matthew Barton | UK

Six everyday scenarios play out in modern London summoning ideas of representation, spectacle and human behaviour. Each character depicted unwittingly becomes observer or observed. Contrasting recording techniques muster doubt about the invisible line of fact and fiction. These opposing storylines and their intrinsic cast urge the question: what leads men to be constantly creating and consuming an image of themselves?

Persona. Primary Structures (Persona. Estructuras primarias) | 39 | Mikel Belascoain / Miguel Goñi Aguinaga | Spain

Directed by the spanish artist Mikel Belascoain and the photographer Miguel Goñi Aguinaga ‘Persona’ was filmed during the process of creation of the artwork work of the same name. Inspired by a dialogue between the artist and people who suffer severe neurological diseases. This film is part of the experimental project of the same name initiated by Manuel Murie, Neurologist and President of the Spanish Society of Neuro-rehab and the artist Mikel Belascoain.

Making Waves | 8 | Harri Grace | UK

Oumaima Erhali is a 17-year-old Moroccan woman determined to surf. She’s part of a generation that is pushing boundaries, in a country where many believe a surfboard is no place for a young Muslim woman. Oumaima won’t let stereotypes hold her back from the sport she loves, nor the life she wants to lead.

For a Few Chocolates More (Pour quelques barres de chocolat) | 63 | Vanessa Gauthier | France

For fifteen days during the summer holidays a group of young children retreat to a summer camp. What unites theme is that each child suffers from diabetes. Fifteen days to give an insight into their daily life, their fears, and to capture it in their own words. At the age when you have everything to learn.

A Love Worth Giving | 23 | James Newton | UK

A young newlywed couple build a life around the challenges of waiting for a new pair of lungs, but are torn apart when an organ donor can’t be found in time.

In Love as in Live (Canto alla Vita) | 60 | Turi Finocchiaro, Nathalie Rossetti, Nicolas Liguori | France-Belgium

Raymond and Raymond love each other. When one of them, already HIV positive for the past 27 years, gets cancer, their struggle becomes a joint one. Expressing their love to their friends, they try to shape a new life, full of the unknown. Their journey sweeps us along on an amazing sentimental odyssey.