Angelica Ippolito

A true story taken from the archives of the archdiocese of Milan. Based on the life of Marianna De Leyva, better known as "The Nun of Monza," a 17th century nun accused of and tried by the church for breaking celibacy and plotting murder.

An independent porn actress, diagnosed with cancer, reconnects with her father and finds love with a fellow patient. Despite her illness, she continues her career, but her path takes a tragic turn.

During a wave of political violence in Italy, a policeman who's already survived an assassination is assigned to act as a bodyguard to a morally upright judge. He feels increasingly fearful as the links of the upper echelons of police and government to the violence become clear.

A low rank journalist at Tribuna Sera newspaper receives a letter one day. His correspondence contains a serial killer's letters, which he exploits.

Chronicle of the dark maneuvers put into practice by a politician to seize an opposition newspaper. A Lebanese terrorist receives the order to kill a stockbroker, which triggers a series of blackmail and deception. A deputy commissioner and a journalist intend to shed light on all these murky matters, but the politician has no scruples and also knows how to move with extraordinary skill.

Augusto Valle is a successful young industrialist who weds Palmira, the girl working in his factory, and the two have a child despite the infant's uncertain legitimacy. Scheming to control her husband's fortune, Palmira has affairs with both the mayor and the judge to have Augusto committed to a mental institution. While there, he falls in love with Serafina Vitali, a young woman who was also put away.

History as immersion and dispersion in the fragments of the past, a visionary journey accompanied by the voice of Patty Pravo. Presented at the Taormina Festival '97.

Guests of the wealthy young Don Alberto De Simone, the ramshackle troupe of actors known as "L'eclettica," led by Gennaro De Sia, rehearse a new play in an attempt to redeem themselves after the fiascos of their previous performances. The "rehearsals" are interrupted by the arrival of Salvatore, brother of Viola, an actress who is expecting Gennaro's child and who wants to force the man to act like a gentleman and marry her.

Mafioso Michele Verrio has both a wife and a long-suffering mistress, Lunetta.

Rome is on the thresh-hold of the Holy year 1925, the city wishes to present itself as 'spotless' to the outside world. The appearance of a child's corpse puts an end to these aspirations. The police arrest a small time crook who has committed a robbery but has nothing to do with the murder of the child.

Donna Beatrice is determined to expose her husband's alleged affair with the beautiful wife of the scribe Ciampa. The woman, heedless of her own family peace and the reputation of the scribe, who tries in vain to stop her, carries out a plan that does not confirm the adultery but, on the contrary, causes a huge scandal. Ciampa finds himself "forced," finding no other solution, to kill the two alleged lovers, driven by Beatrice's "madness." It is precisely from this "madness," however, that Ciampa will find a way to free himself from dishonor and a crime committed lightly.

Sofia, Don Saverio's sister, confesses to her brother that she was the victim of a fateful event: while she accompanied her brother to Rome, while he was resting at a hotel, a terrible storm broke out during the night, accompanied by thunder and lightning. Frightened, she left her room to seek refuge in her brother's, when, after the lights went out, she accidentally entered a stranger's room in the darkness and fainted from fear of a violent clap of thunder. The unknown individual seized the opportunity and took advantage of her. From that turbulent encounter, Don Felice Sciosciammocca was born, Sofia's illegitimate son, now engaged to Marietta, Don Saverio's daughter.

Oreste Campese is the leader of a traveling troupe of actors—made up of his family—who find themselves in the middle of winter in an unspecified town in central Italy. During the prologue, Campese recounts the events leading up to the present: the troupe has suffered the misfortune of losing their "shed," a mobile theater structure that was destroyed by an accidental fire. The flames spared only the boxes of props and costumes, which were opportunely saved.

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.

A typical 1968 film, it is directed in an elliptical style by the author, who builds a political theorem on the link between violence and revolution.

Leo has a dream: to make a movie in the great outskirts of the metropolis (Rome). He does anything for money, including selling cocaine. But his dream vanishes in the night when the police catch his friend.

The true natures of love, commitment, and reality are called into question in this offbeat drama. One night in bed, Tomas, a magician, begins telling a story to his wife Desirè about Emma and Sal, a married couple whose love life has gone stale. In order to fire up their relationship, Emma and Sal begin playing an increasingly elaborate series of role-playing games, in which they assume different personas -- Sal saves Emma as she is tied to railroad tracks, or Emma must seduce another man to pull her husband out of debt. But the question soon arises -- are Emma and Sal real? And who really holds the power in their lives? Chimera also features Franco Nero as one of the participants in Emma and Sal's sexual fantasies.

In the 1770s, Swiss farmer Johann Heinrich Pestalozzi established a school for poor orphaned children in the Aargau. Up to total exhaustion he sacrificed himself for his pedagogical theories. Five years later, the project of the idealistic educator failed after bloody attacks of the French. In retrospect, the disappointed Pestalozzi experiences the last few months with "his" children.

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.