Otello Belardi

Aldo Muratti, is a man, separated from his wife, who to pay for food and be able keep his daughter writes porn novels.

Two scoundrels - Tizio and Caio - didn't want to get into the military service so they decide to escape dressed in women's clothes, but were caught by the guards. Without being able to confirm their right to freedom, the unlucky fugitives were sold into slavery. But everything what happens - happens for the better and slave girls Ticiâ and Kaya become personal servants of the Empress Poppea...

Margherita nicknamed Fornarina is Raphael's mistress. Beatrice, a noblewoman who is also in love with the famous painter tries to get her out of the way, by having her wrongly accused of the murder of a loan shark, whom she has in reality killed herself. Fornarina is sentenced to death. Will Raphael manage to prove her innocent?

Paulina, sister of Napoleon I, is married to Camillo Borghese, presented as a helpless coward. She is eager to offer herself to all the young people that propose to her, and performs naked in front of the Roman people flocking to the walls of Villa Borghese, which she turned into a private residence. She also poses half naked for the famous statue of Canova, who is also presented as a effeminate and scoundrel. When her reputation as a depraved spreads, on the advice of the Pope, she is segregated away from all the men. when the French troops deport from Rome the Pope and the cardinals as well, Paulina sees prostitution as the only way to find herself some "fresh meat". Finally after seven years villa Borghese is reopened to the public, as Paulina goes back to Paris, to the great relief of the Roman people and the clerical circles.

L'aube point sur Cinecittà. Le Maestro s’apprête a réaliser son nouveau film inspiré de "l’Amérique" de Kafka. C'est alors que surgit une équipe de télévision japonaise venue interviewer Federico Fellini. La suite est un délire autobiographique dont Cinecittà est le centre. "C'est un film dans lequel la caméra est utilisée comme un crayon, un pinceau qui tracerait des hiéroglyphes. C'est une idée graphique, picturale, visuelle, le contraire du cinéma qui raconte une histoire." Prix du 40e anniversaire du Festival de Cannes. Grand prix festival de Moscou 1987.