1955 film by Gillo Pontecorvo

A tale of love, rivalry and passion set in the 50s, in the madcap world of motorcycle speed races, shot on the occasion of the main competitions of that time, such as Monza’s Moto GP and the last edition of the legendary Milano-Taranto race. With also very rare footage of the Moto Guzzi wind tunnel and factories. The film features, alongside popular actors Rik Battaglia and Sylva Koscina, many of the most important champions of those years: Geoffrey Duke, Libero Liberati, Bill Lomas, Enrico Lorenzetti, Reg Armstrong, Stanley Woods, Ken Cavanagh, Dickie Dale, Thomas Campbell, Pierre Monneret, Albino Milani, Walter Zeller, Bruno Francisci, all of them riding amazing Moto Guzzi, Gilera, Mondial and Norton bikes with the so charming and dangerous dustbin fairings that were going to be banned in 1958.

Middle class Sandra, engaged to be married and living in Turin, searches for her missing sister that is estranged from her family. For this, she enters the morally degraded back allies of the port city of Genoa and is exposed to the world of sex trafficking.

1968 film directed by Giulio Petroni

The professional mercenary Sir William Walker instigates a slave revolt on the Caribbean island of Queimada in order to help improve the British sugar trade. Years later he is sent again to deal with the same rebels that he built up because they have seized too much power that now threatens British sugar interests.

The remarkable debut feature directed by Gillo Pontecorvo, famed for THE BATTLE OF ALGIERS and BURN!, in a beautiful, newly restored version thanks to the efforts of Jonathan Demme, Dustin Hoffman and Milestone Film. Set in a fishing village off Italy's Dalmatian coast, under a brilliant, turquoise sky, Yves Montand plays Squarcio, a rogue fisherman who manages to feed his family (his wife played by the exquisite Alida Valli) by tossing bombs into the water to kill the maximum number of fish. When a new chief of police puts Squarcio's illegal and dangerous exploits under closer scrutiny, his livelihood is threatened. Montand's unforgettable, complex character is part working-class hero, part macho-cowboy, part 1950's sex symbol at sea.

An international anthology about the struggles of female workers around the world.

1983 film by Costa-Gavras

1966 Italian film directed by Damiano Damiani

Unofficial lawman John Corbett hunts down Cuchillo Sanchez, a Mexican peasant accused of raping and killing a 12-year-old girl.

While a Mexican revolutionary lies low as a U.S. rodeo clown, the cynical Polish mercenary who tutored the idealistic peasant tells how he and a dedicated female radical fought for the soul of the guerrilla general Paco, as Mexicans threw off repressive government and all-powerful landowners in the 1910s. Tracked by the vengeful Curly, Paco liberates villages, but is tempted by social banditry's treasures, which Kowalski revels in.

In the 1830's, the island of Quemada in the Antilles is a Portuguese colony - that is, until an English agent provocateur arrives and inspires the black slaves to rise and expel the colonial authorities. However, as is always the way with revolutions, a group of middle-class power brokers seizes political control and the people's aspirations are betrayed. Ten years pass, and the sugar industry now requires peace and stability on Quemada. The continuing guerilla campaign by the dispossessed blacks is harming profits. The very same English adventurer is once more despatched to the island, this time to hunt down and eradicate the revolutionaries he created. Marlon Brando plays Sir William Walker in his best Fletcher Christian English accent and a blonde wig with a life of its own. His is a thoughtful performance, putting across the complexity of the man, a character who is undoubtedly cynical and unscrupulous, but who is also an emotional man and something of a political philosopher. He is certainly effective at what he does. The direction of Gillo Pontecorvo is somewhat erratic at times. There are points where the narrative is confused, and the gold robbery which drives the plot somehow got left on the cutting-room floor. Jose Dolores' rise to power is the most significant event in the story, but we see nothing of it. During the voodoo carnival, two of the participants are wearing 20th-century soccer shorts. The film's central pivot, the passage of ten years between Walker's two visits to the island, is handled very sketchily by means of a few incongruous London scenes and a voice-over narration. But there are good things, too. When Santiago's widow hauls her husband's body away, the masonry of the fort stands as a silent metaphor of colonial power - harsh, overbearing and sterile. Brando has some fine speeches, musing on the nature of political legitimism. The fire scenes are visually arresting (though it would have sufficed to have two or three guerillas being shot as they emerged from the burning sugar cane: seven or eight is labouring the point), and Walker is positively luminous against the tortured black shapes of the charred forest, showing in symbolic form that this man thrives on the suffering of the blacks, and that destruction is his natural element.

1960 Italian film directed by Gillo Pontecorvo

Tracing the struggle of the Algerian Front de Liberation Nationale to gain freedom from French colonial rule as seen through the eyes of Ali from his start as a petty thief to his rise to prominence in the organisation and capture by the French in 1957. The film traces the rebels' struggle and the increasingly extreme measures taken by the French government to quell the revolt.

1976 film by Joseph Losey