Vergine, e di nome Maria

Carlo and Elisa are a successful couple. He’s a university professor and writer facing a creative block; she’s a brilliant, sharp-witted journalist, known for her internationally published editorials. They live in Rome, moving between accomplishments and routine, affection and something that might be fading. In search of new energy, they travel to Morocco with their lifelong friends, Anna and Paolo, and their thirteen-year-old daughter Vittoria—bright, curious, a little eccentric. Tensions soon rise.

Vincent was born near Paris, but has cut off every link with his roots. Maria, fifteen years younger, grew up in Ostia, but no longer sees her family. Together they form a couple that does not seem to need anyone. They lead a secluded life in contemporary Rome, indolent and distracted. Furthermore, Vincent and Maria are good at blending in with their environment. When they return home, they make love with the passion of young lovers in a suburban apartment that she has carefully furnished. Yet, on closer inspection, their everyday life betrays what lies behind their seemingly normal appearance: a project carried out by him with a clear determination and accepted by her only by virtue of unconditional love. A plan to help couples who cannot have children. Maria decides that it is time to create a real family. This choice has an inevitable consequence: the rebellion against Vincent, the man of her life.

A young Roman woman during the 1950s is on the verge of becoming engaged to a man. She goes to Cinecittà to do an audition as an extra and is thrust into this almost infinite night during which she discovers herself.

Evangelist Carlton Pearson is ostracized by his church for preaching that there is no Hell.

Italy, 1989. After years of hard training, 13-year-old Felice, carrying his father's expectations on his shoulders, finally sets out to compete in the national tennis tournaments. While dreaming of a simple summer vacation, he's instead placed under the wing of ex tennis champion Raul, an unconventional coach hired by his father. Match after match, the two embark on a journey that will lead Felice to discover the taste of freedom, and Raul to glimpse the possibility of a fresh start. As they travel along the Italian coast, an unexpected, deep, and sincere bond between them develops.

"Loro", in two parts, is a period movie that chronicles, as a fiction story, events likely happened in Italy (or even made up) between 2006 and 2010. "Loro" wants to suggest in portraits and glimps, through a composite constellation of characters, a moment in history, now definitively ended, which can be described in a very summary picture of the events as amoral, decadent but extraordinarily alive. Additionally, "Loro" wishes to tell the story of some Italians, fresh and ancient people at the same time: souls from a modern imaginary Purgatory who, moved by heterogeneous intents like ambition, admiration, affection, curiosity, personal interests, establish to try and orbit around the walking Paradise that is the man named Silvio Berlusconi.

In a small suburb on the outskirts of Rome, the cheerful heat of summer camouflages a stifling atmosphere of alienation. From a distance, the families seem normal, but it’s an illusion: in the houses, courtyards and gardens, silence shrouds the subtle sadism of the fathers, the passivity of the mothers and the guilty indifference of adults. But it’s the desperation and repressed rage of the children that will explode and cut through this grotesque façade, with devastating consequences for the entire community.

Anna and her son Valerio run away from a husband and a father who has destroyed the love of their family with beatings and anger. They seek refuge in Turin, with Carla, a lifelong friend, an actress and a woman who lives against the grain, who welcomes them, and with the example of her own experience, will show them the way to a just and possible rebirth.

ในช่วงปลายยุค 50 นักจิตวิทยาผู้ทะเยอทะยานพยายามหาทางทดสอบขีดจำกัดของจิตใจมนุษย์ขณะรักษาผู้ป่วย 3 คนซึ่งเชื่อสนิทใจว่าตนเองคือพระเยซู

Margherita, a director in the middle of an existential crisis, has to deal with the inevitable and still unacceptable loss of her mother.