Baggage (2026): Surrealistic Visual Language and Confront the Past
Baggage’s experimental mixed formats visualized a woman’s brave inner journey of visiting the museum of her fragmented memories.

In Italy there is a world that is helping the country grow; it is that of the operators and mediators of the SPRAR network reception projects, a public system based on the synergy between municipalities, the Ministry of the Interior and associations. The film follows the lives, thoughts, dreams, and labors of those who work every day in the construction of a complex and necessary future.
Baggage’s experimental mixed formats visualized a woman’s brave inner journey of visiting the museum of her fragmented memories.
It’s dark, uncomfortable, and there are things that don’t make sense.
Battles will come and go and queer people do die for their identity and fights for rights, but that doesn’t mean the gays don’t deserve their happy endings in stories.
In The Women and the Murderer, directors Mona Achache and Patricia Tourancheau center women—the very demographic true crime is designed to appeal to.
If a movie about a strange and crazy day is commercially successful, why not recycle it and double the kookiness quotient? That seems to be the logic behind this followup to Freaky Friday.
Where we leave the characters is in such a peaceful and optimistic place. It feels well-earned to ensure everyone gets their own specially-crafted happy ending.