Vittorio Ciorcalo

Walter is an unpleasant man, dirty, a small-time middleman, a third class swindler. He lives in an old station wagon full of dirt and scraps of a lifetime. In that car, Walter eats, sleeps, receives young customers to whom he promises to break into the show business, as long as they are willing to do anything and in exchange for a bribe. His bodyguard is always by his side, he's too old and smells. He's own faithful life companion: A Rottweiler named Blackie and he's dying.

In this fact-based drama, an ecology-minded fisherman is elected mayor of his corrupt seaside town and begins crusading against drugs and crime.

On December 12, 1969, a bomb kills 17 people and injures many more at a major national bank in Milan, marking the beginning of the Years of Lead. Local anarchists are scapegoated for the massacre by police and the media, but an investigator uncovers a larger subversive project made of far-right fringe groups, corrupt secret services, and other interests that seek to undermine democracy.

Gabriele returns home in southern Italy to bid farewell to his father Ernesto, a former stationmaster in a small town not far from Bari. The old man reawakens in Gabriele memories of his childhood, of his loving mother, his uncle, his friends... but also of his father's rage and bitterness over his failure in achieving his artistic ambitions: Ernesto was convinced he was destined to be a famous painter, and was willing to sacrifice everything for this belief, even his own dignity – and this made his son swear that he wouldn't turn out like him. Only now, many years later, through chance and circumstances, Gabriele begins to understand Ernesto and to see what sort of person his father really was.

In a high school in the outskirts of Rome, it's the last day before the summer holidays. A literature teacher reminisces the past year and wonders what will become of the students he cared for as if they were his children.

Это последняя крупная роль "великого и ужасного" Клауса Кински, человека с лицом демона и руками великого музыканта. Кински долгое время был увлечен образом Паганини как фигуры противоречивой, негармоничной, но способной на потрясающие прозрения. Бурный гений - так можно резюмировать репутацию Паганини, острее всех воплотившего идеал романтического художника. Кински показал жизнь художника на самом краю бездны, сознательно преувеличивая ее глубину. Его Паганини - клубок змеящихся парадоксов, исчадие ада, осененное божественной волей, похотливое животное, преданное искусству. Жюри Каннского фестиваля не приняло фильм в конкурсную программу, уличив режиссера в порнографии. И наверное, Кински больше обрадовался, чем расстроился…