Based on a supposed screenplay by Fellini that fell out of a window, Arbore tells the southern story of a shaggy-haired Neapolitan girl, a toilet attendant, who arrives in the foggy north to become a singer, and whom he becomes her boorish manager.

Five portraits of actresses in their "common" life, seen as women rather than movie stars.

Four episodes. A pilot is ready to change sex, but the doctor made an error. A woman is searching a partner for a dance contest. A worker seduce his boss wife. A guard is too much proactive and this will cause many troubles.

A look back at the life and works of Michelangelo Antonioni.

Short documentary about the great italian director.

An exasperated police inspector receives different eyewitness accounts surrounding a downed saucer and its female occupant.

The changing fortunes of two boxers are explored in this interesting drama by Paolo Heusch, seen from the point of view of the women the boxers love. One of the pugilists is a rookie on the rise and his sister has married the reigning champion. Now the champ is getting older and less able to hold his own against the newcomers -- including his brother-in-law. As his fortunes begin to decline, his wife whom he married while affluent is slowly forced to deal with the difficulties of poverty. This Italian drama was an entry in the 1959 Berlin Film Festival.

The film recalls Orson Welles’ Italian period. “Rosabella” is the translation, proposed by the first Italian adaptation, of “Rosebud,” the object at the center of the story of Charles Foster Kane, the main character of Citizen Kane (1941), Welles’ debut film.

Pier Paolo Pasolini sets out to interview Italians about sex, apparently their least favorite thing to talk about in public: he asks children if they know where babies come from; asks old and young women if they support gender equality; asks both sexes if a woman's virginity still matters, what do they think of homosexuality, if divorce should be legal, or if they support the recent abolition of brothels. He interviews blue-collar workers, intellectuals, college students, rural farmers, the bourgeoisie, and every other kind of people, painting a vivid portrait of a rapidly-industrializing Italy, hanging between modernity and tradition — toward both of which Pasolini shows equal distrust.