Dacia Maraini

The final part of Pasolini's Trilogy of Life series is rich with exotic tales of slaves and kings, potions, betrayals, demons and, most of all, love and lovemaking in all its myriad forms. Mysterious and liberating, this is an exquisitely dreamlike and adult interpretation of the original folk tales.

Marta works as a telephone operator for a telephone company. She lives with her friend Nanda in Nanda's flat. But Nanda's priority is above anything else to find a husband.

Piera is a young woman who grows up under the parentage of two extremely original overseers: both her mother and father have incestuous relations with her before they are committed to insane asylums. A special connection, between a mother and her daughter, full of sensuality and complicity, has allowed to portray a family full of fears, rather unbalanced, but nevertheless searching infinite love.

A young restorer is commissioned a job at an old villa which belongs to an aging countess.

A mute mother stands by idly as her young children radicalise as a result of a society that thrives on conflict and manipulation. As she is drawn to a group of political activists, her absence allows her children to become increasingly extreme in their behaviour and lethal games they play.

In this improbable, ponderous story about a couple who do not want to have children of their own, and a pregnant, single woman who needs a home for awhile, the relationship between the three is strange, at the very least.

After many years of living abroad, a troubled young man returns home due to the death of his father (who he suspects was actually murdered). He attempts to untangle that mystery while still carrying an unhealthy obsession toward his mother, who committed suicide ten years ago. This obsession then draws in his attractive cousin and takes a sexual turn.

In 18th-century Sicily, deaf-mute highborn Marianna Ucrìa is forced to marry at age 13, bearing three children before even turning 16, when she finally gives birth to a boy. Despite everything, she'll find a way to emancipate herself from the oppressive social conventions of the time.

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.

Teresa gets her first taste of crime -- and its consequences -- when, during World War II, she is nabbed for robbing an apartment. But being poor and perpetually starving, the pretty petty thief doesn't give up her quest for ill-gotten gains and soon turns to pick-pocketing. Despite her questionable thieving skills, the bumbling crook tries scheme after scheme, pilfering from strangers and dodging the law as she searches for a way to fund an adequate meal.

Three sisters, played by Fanny Ardant, Greta Scacchi and Valeria Golino, struggle with their illusions, goals and desires in Margarethe von Trotta’s film adaptation of Anton Chekhov’s play.

Drama about the fading relationship between a professor and his wife. Based upon a short story by Alberto Moravia.

The stories of five women very different from each other, yet linked by morbid and violent love experiences, are intertwined in a drama inspired by the collection of short stories by Dacia Maraini published in 2012 by the same title of the film, "Love Stolen ".

A drifting teen slips from petty crime into exploitation on the streets of Hamburg, courted by a self-serving journalist and a predatory pimp, before a doomed romance pushes him toward a desperate armed-robbery scheme he can’t outrun.

Italian drama.

In a well appointed villa in Bagheria, near Palermo, a couple, Silvio and Leda Pataneo, spend their days attempting to complete a novel, making love, and caring for a citrus grove that the local townfolk want to acquire. All framed against a political backdrop of class and cultural differences.

In all of his work, Bussotti makes frequent reference to the body, to sexuality. This to remind musicians — especially classically trained ones — that they are not body-less angels, that they are not just their musical thoughts, that they are still, in the last analysis, flesh and bones. Thus the erotic is not for shocking, but to stress that making music involves the body in a very direct way.

Pasolini seeks in Africa the peasant and revolutionary authenticity he had sought in the Roman villages. This hope will end in a new disappointment: Africa is a reservoir of irremediable contradictions that will explode in the massacres of yesterday and today. It is an Africa that starts from the outskirts of Rome, but thousands of non-EU citizens flock to the sub-proletariat of the villages.