Greta Gonda

In the eighteenth-century Rome, Don Pasquale Corneto, wants his young nephew Ernesto, dedicated to a wasteful social life, to marry a rich spinster, both to save on the expenses of his maintenance and to increase the family heritage.

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.

Cipriano Duval is an Italian who has emigrated to Paris, where he works in a pediatric clinic as a nurse.

The famous composer's life and his career. His love story with Isabella Colbran, the soprano who was to become his wife and the singer in all his operas up to the unfortunate day she lost her voice.

Affamée de pouvoir et de plaisir, Messaline change d'amants aussi vite qu'elle élimine ses ennemis.

Young Rosalia marries the painter Corrado Palmieri, but gets disowned by her family, opposed to the marriage. Then during a fight, Corrado kills his brother in law and is sentenced to a life sentence.

Cousins Michele and Tommaso are told by a notary that a distant uncle has left a large sum of money for them.