Napoli, Napoli, Napoli, Abel Ferrara’s new project, is not only a portrait of the city itself, but a deep sight into its humanity, vital and brutal, passionate and cruel at the same time. While interviewing a group of female convicts in Pozzuoli State Prison, Ferrara was deeply impressed by their statements, so harsh and fatalistic. He then decided to base on their life experiences three different screenplays, written by Peppe Lanzetta, Maurizio Braucci and Gaetano Di Vaio. Di Vaio’s episode is inspired by his actual experience as a convict; Braucci’s depicts a sad and brutal adolescence; Lanzetta’s a family melodrama of violence, expectations and vengeance. By interweaving reality and fiction, this innovative docu-drama is a complex and compelling mosaic; like the city of Naples, so fascinating and indecipherable at the same time.

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Three strangers arrive at a chateau inhabited by four women believed to be vampires. But are they vampires or are they under the hypnotic machinations of an old man? Rollin shot the first part of this film as a short subject to be billed with an American vampire film bought by a distributor that just over an hour (it too was designed for double billing). His producers were impressed with what he accomplished with next to nothing and asked him to expand the film to feature length. Thus, the first half hour (part one) is an intriguing short that makes the most of its found locations, make-shift production design, and available lighting (and a very early example of a turntable effect around two arguing actors to heighten the intensity of the scene). The second half (which necessitates resurrecting several of

Nero bifamiliare is a black metropolitan comedy.
Marina and Vittorio are young, beautiful, happy and in love. They have everything. A bi-familiar cottage in a lush quarter included. Around them orbits a strange neighbourhood. Most of all, the couple formed by Slatko the roumanian and the ambiguous Bruna. One day the fancy Marina and Vittorio's flat is robbed, and their neighbours are suddenly pointed out as guilty. In an obsessive desire for vengeance and justice, things soon end in a whirling close to insanity.

Nino Manfredi and Mariangela Melato are a couple who teach at the same elementary school and are dying to have a child of their own. At this school all the little students wear uniforms that make them look like miniature Austin Powers'. They also accompany the soundtrack with insipid songs that tell you what you are looking at. Whether you understand Italian or not, it soon gets on your nerves.

In this 1969 romantic comedy-drama, a 38-year-old American porn novelist (Charles Bronson, in an offbeat, non-tough guy performance) living in London meets and falls for a 16-year-old nymphet named Twinky (Susan George). Before you can spell statutory, they get married and move to New York City -- and that's when their problems begin. Michael Craig, Honor Blackman, Jack Hawkins, Orson Bean and Kay Medford co-star. Richard Donner directs.

Aboard a ship late in the 19th-century, a middle-aged Italian tells his story of love to a Russian. In a series of flashbacks filmed almost entirely in creams, whites, and ochers, the clownish and superfluous Romano Patroni leaves his wife's opulent home to visit a spa where he falls in love with a Russian woman whose marriage is a horror. He pursues her into the Russian heartland and returns to Italy resolved to leave his wife and marry his love

Hercules (Reg Park) and King Androcles (Ettore Manni) are on an ocean expedition when Androcles is washed overboard during a storm near a mysterious island. Making landfall, Hercules finds that the island is the kingdom of Atlantis, ruled by a beautiful, cruel, and ambitious queen, Antinea (Fay Spain), who controls a mysterious source of power. She has transformed her personal guard into super-strong warriors -- each nearly a match for Hercules, put Androcles under her spell, and inflicted terrible wounds on her people, all in preparation for her plan to conquer the world. Hercules finds that her power stems from a source older than the gods on Olympus, one over which he has virtually no power. He must save his friend, release Antinea's people, and prevent her from carrying out her plans. ~ Bruce Eder, All Movie Guide

Murder has rarely been as mirthful (cinematically speaking, of course) as in this uproarious Italian comedy that earned an Academy Award for Best Original Screenplay. Leading actor Marcello Mastroianni and director Pietro Germi (who also co-wrote the script) both landed additional Oscar nominations for their inspired work in this yarn about Ferdinando Cefalu, a layabout baron whose impatience with Rosalia (Daniela Rocca), his clinging chatterbox of a wife, escalates the more he falls for his voluptuous teenage cousin Angela (Stefania Sandrelli). Since divorce is forbidden among the populace of this provincial Sicilian town, Ferdinando realizes that the only way he can be with Angela is to paint Rosalia as an unfaithful spouse and kill her under the socially acceptable guise of protecting his honor and his "manhood" (since nothing's more pitiful in this town than a cuckolded husband).