Andrea Moretti

Having just moved back in with his working-class parents, twentysomething on-and-off philosophy undergrad Walter navigates turn-of-the-millennium Turin and Gen-X ennui.

Unemployed Domenico robs a bank, but is forced to take a hostage when things go wrong. The hostage, Tommaso, is a man who hates his wife and job, and who was already planning to run away with his gay cop lover anyway, so this seems to him like a good opportunity to disappear and start over again: the kidnapped becomes the kidnapper, and things get even more complicated when the two are joined by Rita, Tommaso's beautiful daughter.

Aldo e Pino two layers go to Barbara to find out new sexual experiences.

Four different stories about italian football team’s supporter.

A beautiful fugitive draws a shy film buff out of his shell while she hides in the museum — the cavernous interiors of the Mole Antonelliana in Turin, Italy — where he works as night watchman.

In the Middle East, two young boys from rival communities are united by their shared love of cycling. The theme of the film is woven around the legendary Italian cyclist Gino Bartali's exceptional work for Holocaust victims during World War II, when the athlete saved many Jewish lives during the Nazi occupation of Italy by hiding their documents in his bicycle. The story begins sixty years later, when Bartali's bicycle becomes the tool and symbol of victory for David, an intelligent and sensitive Jewish boy. David accepts the challenge of winning a cycling championship together with his Arab friend Ibrahim, breaking the rules but bringing peace and tolerance between their communities.

Through letters, diaries and personal testimonies, an account of the complexity and variety of experiences of LGBT Italians during the Fascist dictatorship of Benito Mussolini (1922-43); intimate words that contrast with the lyrics of popular songs and the propaganda of the time, obsessed with extolling the myths of virility, femininity and motherhood and constrained by sexual repression.