Alessandro Jacovoni

Um bandido mexicano conhecido como "O Estranho" faz parte de um bando de ladrões que roubam uma carga de ouro de uma diligência. No entanto, os americanos do bando o traem e matam todos os mexicanos. O Estranho não está completamente morto, porém, e se arrasta para fora de sua cova rasa, continuando sua busca pelo ouro e exigindo uma vingança sangrenta.

Um bandido mexicano conhecido como "O Estranho" faz parte de um bando de ladrões que roubam uma carga de ouro de uma diligência. No entanto, os americanos do bando o traem e matam todos os mexicanos. O Estranho não está completamente morto, porém, e se arrasta para fora de sua cova rasa, continuando sua busca pelo ouro e exigindo uma vingança sangrenta.

Parigi O Cara is probably the most camp in the history of Italian cinema, certainly a favourite with the GLBT community who quote its lines by heart. Unique as it's the only film where Franca Valeri (now 90) is the unquestioned star, in the role of Delia, a snobbish, stingy prostitute who is moving to Paris looking for greener and more lucrative pastures. An anti-neorealist, amoral, almost abstract comedy, which anticipates Almodóvar, a ferocious, though gentle, non-moralistic portrayal of the 60's boom and its broken dreams. The dialogue between Delia and her brother (played by Fiorenzo Fiorentini), when he does (or does not) tell her he is a homosexual, is memorable, a primordial coming-out, a masterpiece of allusions. But what makes it one of the first examples of a film with a "gay point of view" is the approach: perceptive, non-conformist, caustically witty. A film ahead of its times, still unbeaten.

Beginning in Las Vegas with a dance of the Bluebells, we are shown a variety, with jugglers, singers, Thai boxing, cock fighting and so on. A Variety taking place in Hong Kong, Manila, New York, Paris, Cremona. The break between an act and the next being a striptease.

Os irmãos gémeos foram criados por lobos, revoltaram-se contra a tirania na Itália pré-romana e depois chegaram a uma divisão dos caminhos enquanto lideravam seu povo para a fundação de uma nova cidade, os fundadores de Roma.

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?

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.

As façanhas de três jovens criminosos romanos são narradas neste drama socialmente consciente. Os jovens cometem crimes mesquinhos o dia inteiro, começando com o roubo de armas e culminando com uma noite com três prostitutas. Depois do prazer, os meninos tentam trapacear as meninas, mas elas são mais espertas do que isso e roubam o dinheiro deles antes. Os malandros então retornam à cidade para mais crimes. As façanhas incluem o assédio de três homossexuais e tentativas de seduzir algumas mulheres. (e 16 - Estimado 16 Anos)

A tale on the Italian upper class of the '60s and their ways to kill time.

Despite of (or perhaps because of ) its sparse production values and unpretentiousness, the Italian Gli Innamorati was feted at the 1956 Cannes Film Festival. The bulk of the story takes place in a single Roman neighborhood. In the manner of the 1925 German classic A Joyless Street, director Mauro Bolognini studies the hopes, dreams, successes and failures of the neighborhood's various and sundry denizens. No one subplot dominates the proceedings, though a bit of extra time is afforded the story of a fickle seamstress and her seemingly meek-and-mild boyfriend. The cast is dotted with such reassuringly familiar faces as Nino Manfredi and Gino Cervi. Released in the US as Wild Love, Gli Innamorati was instrumental in bringing international fame to director Bolognini, whose career soon shifted into high drive.