The mighty Gladiator is captured after freeing the misguided emperor's daughter. The girl surrenders herself for his freedom but is again freed by the Gladiator.

An industrial overpowered by debts decides to kill his creditor. Not having the courage to do it in person, he hired his former employee who needs money.

A witty tram driver helps out a jobless girl in wartime Rome.

Released from jail, Nanni punches prison guard Stefano who has denounced him. In order to take revenge, Stefano suggests the suspicion that, during his absence, his wife has had business with the Count Paolo. A few days later, at night, a deadly ambush will be prepared. Based on the novel The Trap (1928) by Toscan Delfino Cinelli.

1966 film directed by Giovanni Vento

1954 film by Giacomo Gentilomo

In a girls' school, Maria, a student, is accused of having an affair with the young professor Marini. The main accuser is her classmate Anna, played by Alida Valli.

The story of Che Guevara's desperate attempt to escape the mountains of Bolivia. Pursued by an elite ranger unit of the army led by a determined CIA agent, Che is eventually trapped and his men are killed.

Orazio Menicotti is a night policeman in Rome. One night he is present at a quarrel between husband and wife and he volunteers to take the wife to the Police Station. While he goes around Rome with the blonde and beautiful woman, a bank is robbed.

Rome 1943. The German Commandant of the city causes a turmoil in the Jewish community by offering them what seems to be an expensive way out of imprisonment and death.

Nando is dissatisfied with his repetitive and mortifying work. He manages to escape from daily mediocrity only at night, when he enters his fantasy world.

During the winter of 1944, the partisans stationed in the Ligurian Apennines must go to a factory in Genoa, in order to pick up a delivery of weapons. Meanwhile, there's a strike in the city and the Nazis are trying to suppress it violently. The factory becomes the scene of fighting between the Germans and the partisans but the latter, aided by the workers, will be able to get the better.

1962 film by Sergio Corbucci

In the 9th Century, two Viking children, separated since their early childhood with one raised by the British and the other by Vikings, meet after nearly 20 years as rivals as war breaks out between Britian and the Vikings for control of England.

Immediately after the war, bandits attack a truck that is transporting newlyweds Michele and Giovanna and the accountant of an agricultural cooperative charged with bringing four million lire into office.

This utterly gorgeous Gothic melodrama would be widely hailed as a masterpiece, had it not been made in Italy during the Mussolini regime. A gross injustice, as Malombra - unlike Piccolo Mondo Antico, Mario Soldati's earlier film of an Antonio Fogazzaro novel - contains not one moment of triumphalist flag-waving or Fascist family values. Oddly akin to Rebecca in its atmosphere of death-haunted romance and voluptuous doom, it reaches a peak of visual refinement of which Hitchcock could only dream. Its star is Isa Miranda (famous, and not without reason, as Italy's answer to Garbo and Dietrich) playing a headstrong but unstable young noblewoman, confined by her uncle to a gloomy villa on the shores of Lake Como. A yellowed and crumbling letter, found in an old spinet, convinces her that she is the reincarnation of her uncle's first wife - another troubled beauty who died a virtual prisoner after being caught in a forbidden love affair. When a handsome young writer (Andrea Checchi) comes to stay, Miranda decides that HE is the reincarnation of the dead woman's lover. Gradually, she lures him into her web of sex and revenge... What more to say without spoiling the fun? Miranda gives a performance to rival any of the great divas of Hollywood. Only Davis and Stanwyck, perhaps, could play a bad girl so boldly without losing all sympathy. The evocation of 19th century aristocracy, in its full decadent splendour, is visually and dramatically flawless - a model for such later Italian gems as Visconti's Senso and The Innocent. It helped, perhaps, that Soldati himself was a leading novelist. Blessed with an absolute respect for the classics he adapted, but in no way inhibited by them. He was also the guiding spirit of the now-forgotten 'calligraphic' movement, which brought the Italian cinema to such wondrous aesthetic heights during World War Two, only to collapse before the horror of Neo-Realism. Can we blame Soldati for giving up film-making in disgust and going back to writing novels? So if you've ever felt (as I do) that Rossellini's much-touted Rome - Open City is the work of an amateur...well, Malombra is the film you have to see!

1943. The affair between Anna, unhappily married to wheelchair-bound Pino, and deserter Franco unfolds in foggy Ferrara, intertwining with the power struggle taking place within local Fascist ranks that culminates in a massacre of civilians, including Franco's father – Pino sees it all from his window, but will he tell anyone?