The Flesh

In 1987, Ricardo is seventeen years old. This summer, Ricardo has a busy schedule: lose his virginity, find a way to get into bars, get a car and spend time with his friends. In order to make fast money, Ricardo decides to use his Italian connections to take a shortcut via the world of crime. But things don't go so smoothly.

World War II Italy...1943. After parachuting behind enemy lines on an espionage mission, an American soldier is imprisoned by the enemy. He escapes with four Italian prisoners, enlisting their aid in exploding a bridge.

Several lonely hearts in a semi-provincial suburb of a town in Denmark use a beginner's course in Italian as the platform to meet the romance of their lives. The film, which unspools the connections and family drama shared between the students, complies with several aesthetic principles of Dogme 95 movement.

Lucia (Natassja Kinski) is a volatile, exciteable young woman. She forms a romance with Carlo (Stefano Dionisi), who is somewhat callow and is very skittish. Their romance is not an easy one, but they are assisted in coping with its ups and downs by their mutual friendship with Franco (Franco Citti), an older, wiser and more stable man.

When an Italian man comes out of the closet, it affects both his life and his crazy family.

Out of prison after a five-year stretch, jewel thief Tony turns down a quick job his friend Jo offers him, until he discovers that his old girlfriend Mado has become the lover of local gangster Pierre Grutter during Tony's absence. Expanding a minor smash-and-grab into a full-scale jewel heist, Tony and his crew appear to get away clean, but their actions after the job is completed threaten the lives of everyone involved.

A tormented young woman haunted by a recurring dream is catapulted into a peculiar and deviant world where she is confronted by the duality of her existence.

Struggling actor John Person agrees to drive a blue suitcase from Los Angeles to the small town of Baker, Calif., and hand it over to a mysterious cowboy in return for having his credit card debt of $27,000 paid off. Upon his arrival, John can't find the cowboy but receives an ominously head-shaped package he's supposed to hang onto. While waiting, John gets close to Ruthie, whose psychotic boyfriend, Randy, keeps threatening to kill him.

Ira translates as “Anger,” but the titular emotion isn’t often conveyed by the unnamed man and woman at the center of this subdued Italian drama set on the grim fringes of society. Instead, they spend their nights working—he in the market, she on the streets—or wandering restlessly and relentlessly around their dark, decaying city. Writer/director Mauro Russo Rouge follows his characters as they drive down roads lit by the yellow glow of streetlights, push through the crowds at a pink-hued nightclub, pick up supplies in a glaringly bright supermarket, and meander down sidewalks with drinks in hand. They rarely emerge into the sunlight; most of the action takes place in claustrophobic indoor spaces or in the cold, gray light of dusk or dawn. So, too, do their expressions remain withdrawn—even when their nascent relationship triggers a decisive act of violence.

A rising Boston gangster endangers those around him when he starts to make moves without the knowledge of his boss.

Based on Ruggero Leoncavallo's opera Pagliacci. The film recounts the tragedy of Canio, the lead clown (or pagliaccio in Italian) in a commedia dell'arte troupe, his wife Nedda, and her lover, Silvio. When Nedda spurns the advances of Tonio, another player in the troupe, he tells Canio about Nedda's betrayal. In a jealous rage Canio murders both Nedda and Silvio. The only actor in the cast who also sang his role was the celebrated Italian baritone, Tito Gobbi, but the film is largely very faithful to its source material, presenting the opera nearly complete.

A wealthy Italian household is turned upside down when a handsome stranger arrives, seduces every family member and then disappears. Each has an epiphany of sorts, but none can figure out who the seductive visitor was or why he came.