Nunzia Fumo

In Naples, Professor Bellavista is a retired man, passionate about the philosophy and thought of Ancient Greece. Every day, in his luxurious apartment, he teaches his lessons of life to the poor-nothing (his friends), who are dazzled by his reasoning. One day, however, the quiet life of the building of Bellavista will be disturbed by the arrival of a director of Milan. Between Naples and Milan there contrast, because the Neapolitans are accustomed to enjoy a quiet life, always based on the "philosophy of pleasure and delay", while the northern Italians are very strict and punctual.

Based on the memoirs of author Curzio Malaparte, diplomatic liaison between the Allied and Italian forces after the defeat of the Nazis in Italy, The Skin follows the collapse of Italian society under the US occupation and the desperate measures required for survival.

Three episodes about the relativity of time.

Peppino, a slow-witted local villager of the Italian resort town of Amalfi, is bribed to impersonate famed rock and roll star Adriano Celentano for autographs and personal appearances. While Celentano tries to romance Emanuela Mazzolani, the daughter of a well-to-do resident who dissaproves of the union between his daughter and the man he thinks of as a "punk", Peppino, unaware of the true nature of his job to impersonate Celentano, tries to deal with his girlfriend's newborn baby which gets switched around between him and Celentano.

An American actress on vacation in Italy falls for her friend's married Italian lover.

Parigi O Cara is probably the most camp in the history of Italian cinema, certainly a favourite with the queer community who quote its lines by heart. Unique as it's the only film where Franca Valeri (now 90) is the unquestioned star, in the role of Delia, a snobbish, stingy prostitute who is moving to Paris looking for greener and more lucrative pastures. An anti-neorealist, amoral, almost abstract comedy, which anticipates Almodóvar, a ferocious, though gentle, non-moralistic portrayal of the 60's boom and its broken dreams. The dialogue between Delia and her brother (played by Fiorenzo Fiorentini), when he does (or does not) tell her he is a homosexual, is memorable, a primordial coming-out, a masterpiece of allusions. But what makes it one of the first examples of a film with a "gay point of view" is the approach: perceptive, non-conformist, caustically witty. A film ahead of its times, still unbeaten.

Misery money-lender Arpagone is looking to arrange three weddings simultaneously - to cut down on costs. One for himself and the others for his two children. Of course he doesn't approve of the choices his son and daughter have made and conspires to arrange more well to do spouses against their will. However, fate will prove itself to be on the side of true love, not of the greedy.

Vincenzo De Pretore explains to his girlfriend Ninuccia, who threatens to commit suicide if they don't get married, that he wants to wait until he can give her a comfortable life, and tells her that he is the son of a rich man, raised by a poor couple. But to make a living, he is forced to steal and ends up in prison. On Ninuccia's advice, he chooses St. Joseph as his patron saint, and from then on his "work" goes from strength to strength.