Il dottor Antonio

The young Libyan Neschma was forced by her father to marry a man from whom, immediately after the wedding, she runs away. She manages to obtain the annulment of the marriage, but thus becomes a "lost of Allah", marginalized and despised by the community. When she meets the Italian Ugo, love is born between the two. The young woman gives birth to a baby girl, but her father, who has not forgiven her rebellion, kills the little girl. This drama distances Ugo and Neschma: he will marry an Italian woman, she will continue to be an outcast.

Miryam, the adopted daughter of the tribal chief Jamet, meets Marco Palmi, an Italian scientist in Libya for research, in the desert. Their first approach is not cordial and when Mario falls prisoner to the marauders she offers to guard him so she can humiliate him. However, over time she falls in love with the young Italian and becomes pregnant by him. Ibrahim, a bandit who desires the girl, arranges for Mario to be abandoned in the desert and tells Miryam that he died trying to escape. But Mario was saved by another tribe and is cared for by Ulema, a friend of Miryam. Ibrahim tries to harm the two lovers again, but Jamet intervenes and kills the bandit, submits to Italian power and allows the couple to leave for Italy together with their recently born son, called Italo.

During Italian renaissance, young painter Raffaello Sanzio falls in love with Margherita, a maiden of the people, becomes her lover and lives with her. But this relationship arouses the jealousy of a beautiful aristocrat who secretly orders the kidnapping of the girl. Raffaello falls into a state of prostration and does everything he can to find Margherita...

An engineer living in Brazil meets a variety dancer during a temporary stay in Italy. He falls in love with her and convinces her to follow him abroad. But the head of the fazenda, at which he is employed, falls in love with the girl and uses all his power to force her to his will.

Attempting to cover the fault of one of his subordinates, an officer of the Napoleonic army is condemned to death for treason.

The film is set during the Crusades and describes Godfrey of Bouillon's conquest of Jerusalem in 1099.

In "Agrippina" (1910), Guazzoni recreates the particular and troublesome relationship between Agrippina, the second wife of the Emperor Claudius, and her son Nero.

Dr Faust is continually obsessed with his quest for knowledge and absolute pleasure. One day, the demon Mephistopheles appears to him in his study in human guise and offers him a deal: a lifetime of total pleasure in exchange for the life of his fiancée Margaret. Faust accepts but is soon forced to realise the impossibility of crossing the boundaries of knowledge and the limits imposed by God.

Antamoro's CHRISTUS, epic in scale and ambition, and featuring decidedly otherworldly special effects, was released in 1916. Telling the story of the Life of Christ, the film is divided into three segments-- three Mysteries. The first of these includes the Birth of Jesus, the arrival of the Magi, Herod and the slaughter of the innocents, the flight into Egypt. The second Mystery features the expulsion of the merchants from the Temple, Mary Magdalene's conversion and Christ's entry into Jerusalem. The third Mystery is itself divided into three separate parts, which are The Passion, The Death and The Resurrection.

During the latter years of the reign of the tyrannical Roman emperor Nero, Marcus Vinicius, one of Nero's officers, falls in love with a young Christian named Lygia, attempting to enslave her. Lygia's protector, the noble and burly Ursus, works to save her from Vinicius' clutches. Pursuing Lygia, Vinicius finds himself at a catacomb prayer meeting led by the apostle Peter and finds his conscience stirring-- just as Nero orders Rome burned. A landmark in epic film, Enrico Guazzoni’s grand-scale masterpiece laid the foundations for what colossal Italian spectacles would become. The film had tremendous influence on Giovanni Pastrone’s Cabiria (1914) and D.W. Griffith’s Intolerance (1916).

In "Fabiola" (1918) Herr Guarzzoni moved from the earliest days of Christianity when the new faith was struggling to just survive to a later period in the Roman Empire when the religion was a major force and attempting to win over Rome.