The Suburra district was the criminal underbelly of Ancient Rome, home to the city's darkest secrets. In modern times, crime and corruption has spread deep inside the city where everything - even the priesthood - can be bought for a price.
Imprisoned on Lampedusa, a tiny island off the coast of South Italy, free-spirited young mother Grazia fights against the narrow conventions of her town.
Based on the sensational international best seller 'One Hundred Strokes of the Brush Before Bed' Melissa P is about a steamy tale of raw emotions and frank sexuality. Lonely neglected by her parents and feeling the loss of her grandmother fourteen-year-old Melissa turns to sex as an outlet of expression. Propelling herself into impossibly risky liasons the details of which she records in her diary this modern day Lolita suddenly and dangerously turns into a bold seductress. by turns erotic and harrowing Melissa P's disturbing look into a teenage girl's secret life pushes the envelope of human desires.
Pietro (Elio Germano) spends his evenings working nightshifts in a local bakery. He has just moved to Rome and has big dreams of becoming a successful actor. He finds a very beautiful old apartment which despite being in need of a little repair has an unbelievably cheap rent. This place seems just so perfect! But soon after settling in he notices that objects get moved around and there are strange noises coming from the empty rooms. It soon becomes clear that he is not living alone. Determined not to run Pietro tries everything he can to get rid of the seven and a half other worldly beings that have been resident in the house since World War Two. But this mysterious ghostly theatre company will not leave. Over time they all fall into a routine of domesticity and Pietro realises that he now has a group of friends that he can share his desires fears and secrets with. But what happened during the Second World War to confine them all to this old house? What is the secret behind the tragedy of this ghostly theatre company. Pietro is determined to find out his search for the truth takes him on an astonishing journey. Ferzan Özpetek the director of the award winning comedy Loose Cannons returns with A Magnificent Haunting an exciting tale of a young man whose life is turned upside down when he overcomes his deepest fears to help a ghostly group break free of their eternal prison.
Accio (Elio Germano - Romanzo Criminale Respiro) is the cause of his parents' desperation; irritable and a trouble-maker impulsive and explosive fighting every battle like a war. His brother Manrico (Riccardo Scamarcio - Eden is West Romanzo Criminale The Best of Youth) is handsome charismatic loved by all but just as dangerous... In the Italian small-town life of the 60's and 70's the two brothers have opposite political beliefs are in love with the same woman and through an endless confrontation they live a period of their lives filled with escaping re-tuning fighting and great passions. It is a story about growing up where fifteen years of Italian history pass by as we experience the adventures of Accio and Manrico two brothers very different yet so alike...
Giorgia a short-tempered but quick-witted investigator works in her father's private detective agency in Bologna. She spends most of her time trailing cheating spouses with a telephoto camera. One day she receives a box of video cassettes - taped diaries of her younger sister Ada sixteen years after her mysterious death. The tapes show a happy extroverted girl fully involved in her future - struggling to start an acting career and keeping an affair secret from her boyfriend. As she negotiates the twists and turns of the mystery and her own complex love life Giorgia finds herself descending deeper and deeper into her sister's past...and ultimately her own. Soon Giorgia begins to suspect that Ada's death was something far more sinister... Making atmospheric use of its Bologna locations and effective and subtle use of music Quo Vadis Baby? is one of the most distinctive European thrillers of recent years.
In 2001 on the last day of the G8 summit in Genoa just before midnight more than 300 police officers stormed the Diaz school looking for black bloc demonstrators. Inside the school were 90 activists mostly students from around Europe along with a handful of foreign journalists preparing to bunk down for the night on the school's floors. As the police burst in the young demonstrators raised their hands to surrender. Undeterred and unmoved the officers unleashed a calculated frenzy of violence beating both young and old male and female indiscriminately. Diaz: Don't Clean Up This Blood reconstructs the events of those terrible days from the viewpoints of the police the protesters the victims and the journalists who were caught up in the tragedy to analyse how frustration can explode into raw uncontrollable violence. Vicari's visceral dynamic filmmaking drops the viewer into the dark heart of politics and reminds you through the inclusion of original footage taken at the scene that this may be a movie but it is not fiction.
In 2001 on the last day of the G8 summit in Genoa just before midnight more than 300 police officers stormed the Diaz school looking for black bloc demonstrators. Inside the school were 90 activists mostly students from around Europe along with a handful of foreign journalists preparing to bunk down for the night on the school's floors. As the police burst in the young demonstrators raised their hands to surrender. Undeterred and unmoved the officers unleashed a calculated frenzy of violence beating both young and old male and female indiscriminately. Diaz: Don't Clean Up This Blood reconstructs the events of those terrible days from the viewpoints of the police the protesters the victims and the journalists who were caught up in the tragedy to analyse how frustration can explode into raw uncontrollable violence. Vicari's visceral dynamic filmmaking drops the viewer into the dark heart of politics and reminds you through the inclusion of original footage taken at the scene that this may be a movie but it is not fiction. Special Features: Backstage Scenic Design E Visual Effects Testimony of Ansonio Andreassi (Assistant Chief of Police)
The Past Is A Foreign Land
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