S.P.Q.R.

Two teenage friends conspire to find out how much their youthful sensuality can disrupt one of their households, headed by a dentist and his mentally-ill wife.

The film takes us on a voyage to a hidden Italy rarely addressed on film: Gay Italy as it was lived in the 20th century, from the turn of the century up to the 80s. The documentary gives voice to those who personally had to bear the weight of being "different", remembering how their lives were shaped by this situation during Fascism and in the aftermath of World War II, in an anthropologically and culturally widely diverse nation. Theirs is a mixed testimony of repression, censorship, dignity, courage, and happiness, making way for the final image of a world - our world - that still has a long way to go towards respect and liberty for everyone.

There's a new girl in school, Angela, the Headmaster's neice. Every male will try to seduce her, even her uncle. Meanwhile she will drive the philosophy's teacher mad and her best friend Irma will have a good time with the classmates. Will they get the grades?

A wealthy Italian household is turned upside down when a handsome stranger arrives, seduces every family member and then disappears. Each has an epiphany of sorts, but none can figure out who the seductive visitor was or why he came.

Funny, entertaining comedy with a few storylines. All of them have one thing in common - a resort town of Rimini in Italy.

A young Sicilian is swindled twice, but ends up rich; a man poses as a deaf-mute in a convent of curious nuns; a woman must hide her lover when her husband comes home early; a scoundrel fools a priest on his deathbed; three brothers take revenge on their sister's lover; a young girl sleeps on the roof to meet her boyfriend at night; a group of painters wait for inspiration; a crafty priest attempts to seduce his friend's wife; and two friends make a pact to find out what happens after death.

Glimpses of Chaucer penning his famous work are sprinkled through this re-enactment of several of his stories.

The final part of Pasolini's Trilogy of Life series is rich with exotic tales of slaves and kings, potions, betrayals, demons and, most of all, love and lovemaking in all its myriad forms. Mysterious and liberating, this is an exquisitely dreamlike and adult interpretation of the original folk tales.

In pre-war Italy, a young couple have a baby boy. The father, however, is jealous of his son - and the scene moves to antiquity, where the baby is taken into the desert to be killed. He is rescued, given the name Oedipus, and brought up by the King and Queen of Corinth as their son. One day an oracle informs Oedipus that he is destined to kill his father and marry his mother. Horrified, he flees Corinth and his supposed parents - only to get into a fight and kill an older man on the road…

Momo is a young orphan girl who lives in the ruins of an old Roman amphitheater and becomes friends with everybody in the neighborhood. But when a powerful international corporation starts stealing everybody’s time, nobody has any time left for her, let alone their friends or families. Momo, together with Master Hora, the custodian of time, are the only ones who can go up against the time thieves before all is lost forever.

Summer Sunday at a small beach house at the coast of Rome. Many people and stories: women's basketball team, two sports-obsessed soldiers, two men with their girlfriends and the priest with a big secret, an elderly couple with their pregnant granddaughter, and engagemented couple wanting to have sex for the first time.

Two women–a literature professor and a painter–start to rely upon their friendship as an alternative to their unhappy relationships with the men in their lives.

Collage of dramatic scenes, some exaggerated to comic effect, with asynchronous sound from well known classic, operatic, and rock and roll music – with different approaches to love, suffering, and death.

Schroeter’s film is a chronicle of Germany from the Nazi era until the economic boom of the 1950s and 1960s, centering on three women who search for a career as singers and dancers.

In 1966, Bene presented The Pink and the Black, his successful theatrical adaptation of Matthew Gregory Lewis’ lurid Gothic novel from 1796. Experimental filmmaker Paolo Brunatto filmed some of the play’s rehearsals in a Rome apartment (also frequented also by the Living Theatre). Bene's artistry is encapsulated in one sentence: “One cannot continue to prostitute the idea of theatre, which stands only for a magical, brutal link with reality."

After his release from prison, ex-convict Franz Walsch finds his way back into the Munich criminal underworld. His attentions focus upon two women, Joanna and Margarethe, as well as upon Günther, his friend who earlier shot his brother.

In a dark and spare theatrical space, four characters use gesture, language, and movement to explore themes of desire and mortality.

Carla is a different form of homage, in which Carla Aulaulu sings a song by Gitta Linds.

Werner Schroeter's stunning split-screen short deals with what the director called "archaic, fundamental themes" of love and mourning.

Michel and Guenther, working in dead-end jobs, are obsessed with going to Peru to find buried treasure, using a map of the Rio das Mortes. Michel's girlfriend, Hanna, humors their plan, but really just wants to get married.

A string of sex murders has been plaguing Florence for almost 15 years, in which a serial killer brutally murders couples who are sneaking "a quickie" in public areas. A writer who is doing research for a book about the crimes sets out to uncover the identity of the killer, aided by his beautiful girlfriend. Based on a true story.

To the protagonist, an intellectual so feverish that he seems pathologically unrecoverable, a confused memory resurfaces of a massacre carried out by the Turks in Otranto. Immersing himself in one of the victims, in the unconscious desire to eviscerate himself, a woman appears to him, Margherita, who, in the guise of Santa Maria d'Otranto, treats him with compassionate love. In the hallucinating succession of memories intertwined with historical events, the protagonist finds himself in contact with his environment, his land, his country.

Salome is the daughter of the second wife of King Herod. The King is infatuated with her and, after she fails to seduce the prophet John The Baptist, she dances for the King in order to ask for his execution.

Hermitage, defined by Bene as "a rehearsal for lenses", beyond any literal rendition - its narrative trace comes from one of his anti-novels, Credito Italiano V.E.R.D.I - displays his immediate attitude to thinking a cinematic language completely based on actor's movements and actions, and more specifically, on his presence and his schemes. Camouflaged or naked, still or moving, his body seems to play and be played at the same time, shifted by objective and subjective tensions, both metaphorically and visually speaking.

The Prince of Denmark, Hamlet, is little interested in family affairs and the fate of the kingdom, and not at all attracted by a doll-like Ophelia sucking his finger. Annoyed by his friend Horatio, who tells him of the apparition of his father's spectre that would like to drive him to revenge, and by Polonius, Ophelia's father, who psychoanalyses him by explaining the Oedipus complex, he imagines escaping to Paris with Kate, the leading actress of the company performing in Elsinore, to become a playwright.

In this a baroque and claustrophobic take on Mozart’s opera of the same name, Don Giovanni tries to seduce a girl who is manically searching for Christian icons. Loosely based on Jules Barbey d'Aurevilly's short story "The Greatest Love of Don Juan".

Riccardo III is a theatre play staged in 1977 and also edited for television and aired in 1981, which Carmelo Bene dedicated to his friend Gilles Deleuze, who wrote a book about it before even seeing it. Bene strips down the original Shakespeare play to the core, rejecting plot and characters, leaving on stage only Riccardo III and his ghosts, the female characters. The TV version is characterized by an exstensive use of close-ups and strong light contrast.