Vittorio Musy Glori

Twin brothers were raised by wolves, revolt against tyranny in pre-Roman Italy and then come to a parting of the ways as they lead their people toward the founding of a new city, the founders of Rome.

Torn by personal guilt, Italian General Umberto Nobile reminisces about his 1928 failed Arctic expedition aboard the airship Italia.

Film director Blasetti is looking for a little girl for his new movie. Along with other mothers, Maddelena takes her daughter to Cinecittà, hoping she’ll be selected and become a star. She is ready to sacrifice anything for little Maria.

1943. The affair between Anna, unhappily married to wheelchair-bound Pino, and deserter Franco unfolds in foggy Ferrara, intertwining with the power struggle taking place within local Fascist ranks that culminates in a massacre of civilians, including Franco's father – Pino sees it all from his window, but will he tell anyone?

Zenobia, Queen of Palmira, revolts against Rome and defeats the Roman troops, but she makes a big mistake when she falls in love with enemy officer Marco Valerio.

A dentist buys a small yacht and takes his two children on a cruise of the Mediterranean. His ex-wife stows away to keep an eye on the children and the inevitable happens.

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.

The endless summer of a group of thirty-something neapolitans at Positano.