Giovanna Marini

Lucia (Natassja Kinski) is a volatile, exciteable young woman. She forms a romance with Carlo (Stefano Dionisi), who is somewhat callow and is very skittish. Their romance is not an easy one, but they are assisted in coping with its ups and downs by their mutual friendship with Franco (Franco Citti), an older, wiser and more stable man.

Rome, 70s. Rocco and Antonia, high school students, meet during a political rally. The two young people share age, political ideas, dissatisfaction with their parents. Moreover, by attending, they realize they have fallen in love. It is the discovery of sex and passion. After some time, however, their relationship goes into crisis.

An Italian laborer foils anyone who tries to stop him from selling espresso on the Milan-to-Naples night train.

After a sudden breakup, a woman uncovers her ex's unsent letters, revealing his true feelings and a secret. Betrayed, she plans revenge by exposing his hidden thoughts to his troubled son.

Vannina and Giacinto are a young married couple who live their relationship in an unequal way; while the girl is submissive to the will of her husband Giacinto, he sees in his bride only the personal object of his sexual satisfaction.

A young woman struggles to overcome the dehumanization of poverty.

After a close call on on the highway, Marco--a very famous singer/songwriter in 1968--climbs onto the roof of his car and starts to sing. After an unsuccessful suicide attempt, he tries to take his life back into his own hands.

Fascism has forced the leadership of the Italian Communist Party to settle in Paris. In Italy arrests of militants are decimating the organization, so Emilio is sent on a mission in the area of Turin, to put out of harm whistleblowers.

Hoping to shake up the complacent Italian Communist Party, a group of leftist radicals sends an incendiary letter to a major evening newspaper declaring their intention to volunteer to fight American troops in Vietnam as a political statement against the war.

After Prisoners of the war and On the Heights all is Peace, this film concludes Yervant Gianikian and Angela Ricci Lucchi's trilogy on the first world war. From the emblem of totalitarianism to individual physical suffering, the directors use this representation of man's rampaging violence to draw up an anatomical inventory of the damaged body and examine the consequences of the conflict on children, from 1919 to 1921. From the deconstruction to the artificial reconstruction of the human body, they try to understand how humanity can forget itself and perpetuate these horrors.

Working from archives of private film footage from a trip to India by the upper class of the late 1920s, a period of strong anti-colonial outbreak, Yervant Gianikian and Angela Ricci Lucchi deconstruct the images and analyze the attitude and behavior of Westerners in the East.

Via Paradiso depicts the charming, unchanging nature of the fate of an old movie theatre through intertwined stories which involves a dramatic romance that flourishes on a tranquil Christmas evening and disrupts everything, only to disappear as quickly as it arrived.