Body of Love

The study of semantics has convinced Amedio that things only have relative validity, and that everything is changeable. So it seems, because while on an Italian holiday with his family, he conceives the idea that his aging wife should assume the role of his mother, and his daughter, who has an infant son, should assume the role of his wife and lover. His real mother, an elderly invalid, dies just as this conceit begins to take form, and, inexplicably, the women placidly go along with this odd notion for a time, but eventually return to their former roles.

Simon (O.E. Hasse) fought in the Spanish Civil War (1936-39), but now he is an old man, readying himself for death. His daily life is filled with memories, reveries, feelings, and small but meaningful encounters; these are the stuff the film is made up of. Some of the musings are of a hallucinatory nature, as when he meets with a tramp during imaginary walks. Others are more ordinary, as when he interacts with his son's family or enjoys looking at the pretty women in the building across the street.

When Gordon Smash tries to get away with the loot from a successful diamond heist, his fellow conspirators shoot him in the back. Smash manages to get a clue to newspaper reporter Robert Foster, who sets of to retrieve the diamonds. Despite becoming a target for the rest of the gang, Foster prefers to rely on fashion model Arabella and news paper photographer 'Flash' instead of the more seasoned Inspector Chandler.

In the 19th century Europe, an aging scheming couple decides to manipulate and seduce a couple of young newlyweds in love, just for the fun of it.

Swindler in jail devises a scheme to blackmail the family of recently deceased people, threatening to tell supposedly incriminating facts about their dead relatives' lives.

Odysseus' journey, told in Homer's Iliad and Odyssey. After fighting in the Trojan War, Odysseus spends years trying to return home to Itaka.

An old patriarch at the gates of death, who has been married five times, reunites his family and indulges in a sadistic game with them.

Alberto Nardi is a Roman businessman who fancies himself a man of great capabilities, but whose factory teeters perennially on the brink of catastrophe. Alberto is married to a rich and successful businesswoman from Milan, Elvira Almiraghi who has a no-nonsense attitude and barely tolerates the attempts of her husband to keep his factory afloat with her money.

"Andremo in città" (We'll Go to the City) is a 1966 Italian drama film directed by Nelo Risi. It is based on the novel of the same name by Edith Bruck, Risi's wife. Bruck, a Hungarian concentration camp-survivor, settled in Italy after the Second World War and wrote about her experiences in autobiographical and fictional formats.[1] The film stars Geraldine Chaplin and Nino Castelnuovo.

Italian TV movie. Based upon a novel by Anton Chekhov.

This is the story of writer Alberto's long journey to Stockholm, where the Nobel Prize awaits him, in a blazing Maserati. He is accompanied by Alessandro, a young journalist whose job is to interview him along the way. Personal and generational dynamics arise between the two men, leading to misunderstandings, jealousies, quarrels, separations, love quarrels and so on, but also to growth for both of them. A story full of twists and turns and always played on the edge of irony.

In 19th-century France, doctor's wife Emma Bovary seeks to escape her dull provincial life through various extramarital affairs and extravagant spending, leading to tragic consequences.

A man who grew up an orphan finally gets to meet his father: The psychopath Dr. Josef Mengele, the Auschwitz surgeon who performed genetic experiments on concentration camp refugees during WWII.

The movie is about the celebrated trial of Olga Duvovich, very beautiful woman accused of killing her husband, a wealthy financier.

A young writer descends into madness. Alienated, neurotic, and plagued by guilt, Michele retreats from reality, loses interest in work, and comes to the brink of suicide before being sent to an asylum for shock therapy. Escaping from the asylum, Michele returns to his boyhood home, where he learns the reasons for his present mental state.