Fiorenzo Fiorentini

Doctor Eva Marini takes up a position at an army base to investigate the sexual behavior of the Italian male soldier and soon finds out she's taken on more than she bargained for.

Two childhood paranormal incidents have convinced schoolteacher Faith Corvatch that her true love is a guy named 'Damon Bradley', but she has yet to meet him. Preparing to marry podiatrist Dwayne in ten days, Faith receives a phone call from Dwayne's old classmate Damon Bradley, who is on his way to Venice. She impulsively decides to fly to Italy with the hope of finally encountering the man of her dreams. Accompanying her on the trip is her sister-in-law and best friend Kate, who has just left her husband, Faith's brother Larry.

A middle-aged businessman finds himself in thirst for romance adventure, and it seems that a proper partner is not far away.

The Honourable Mario Agosti, incorruptible politician, has a twin brother, Filippo, hedonist and swindler, the true black sheep of the family. Posing as the illustrious brother, Filippo comes into contact with the world of politics and finance, and is not slow to profit from the powerful characters whom he gets to know. Mario will have to serve the paradoxical consequences.

The story of fish-monger Nino of Rione Borgo. Nino is in love with Rosa but he always manages to postpone their wedding.

In Lazio, four young people named Riccetto, Girasole, Lallo and Tombarolo try to make a living by stealing what they find in the tombs of the rich buried. Being inexperienced, they often find themselves in trouble or pursued by the police.

Two jerks are enlisted in the Italian army during W.W.1 and by pure luck manage to help win an important battle.

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.