Luigi Malerba

No synopsis available yet.

Elena and Carlo are a married couple facing sexual difficulties due to the husband's loss of virility. They explore various erotic schemes to rekindle their intimacy, but their efforts are unsuccessful. In a moment of despair, Elena attempts suicide, prompting Carlo to confront their issues and seek a resolution.

Alberto deceived by his wife, goes to some place in the mountains to escape. There he meets a woman who was there for the same reasons that he was.

A businessman is nicknamed "L'avvocato" and his driver, Oscar, is a yes-man. When L'avvocato has a crash while driving his car, Oscar is put in jail in his place. When Oscar gets out, he finds himself married to the beautiful Maria, but he can't even touch her: she is l'avvocato's lover. Afterwards Oscar is appointed manager, but he can't manage a dime. At the end he shall find himself again in jail, hoping that his "sissignore" (yessir) will let him have, sometime, a driver to send to prison in his place. —

A woman in her thirties is a single mother of a teenager daughter, and both are in love with the same young soldier. Mother sacrifices herself for Maricchia's marriage, but ultimately falls to her own passion, leading to family disruption.

Ariberto de Ficulle is a nobleman who came into possession of a small feud by marrying the ugly Matilde Montefiascone.

A mysterious woman takes her daughter on vacation after they've been separated for several months. There, she meets some of the richest and most eccentric people, who are hiding just as much as she is.

No synopsis available yet.

Six vignettes explore love and desire in Rome, from prostitution and heartache to unwed motherhood and the male gaze.

No synopsis available yet.

A betrayed wife decides to teach her philandering husband a lesson in this riotous farce. Marta (Catherine Spaak) discovers that husband Franco (Nino Manfredi) has been stepping out with her own best friend (Maria Grazia Buccella), and gets revenge by inventing an imaginary lover. Franco takes the bait, leading to improbable but hilarious complications.

A beautiful witch is sent to Earth by the devil to capture the souls of a group of ambitious men.

Based on the Nikolai Gogol story but set in 1950s Italy, "The Overcoat" is the story of a poor city hall clerk whose only desire is to buy a new overcoat.

A professor and his wife suffer humiliation at the hands of an invading college dissidents protest.

Relatives brawl over the estate of a deceased grandmother who owned an insecticide factory.They stop at nothing, including bumping each other off.

No synopsis available yet.

Bob is a successful actor, but his career gets doomed by a strange phenomenon: the animal kingdom is taking on him!

Totally drunk, a young banker marries a girl who has strange habits: she walks around the house completely naked.

Donne e soldati was an example of a ‘decentralised’ production, far from Rome, something that for the most part Italian cinema didn’t fully succeed in achieving until the 1990s. . In many ways the film, which is both Picaresque and anti-heroic, was too far ahead of its time, and it is often considered the precursor to Monicelli’s L’armata brancaleone. This time out, Ferreri takes the reins as producer of the ill-fated undertaking (the two directors will never make another film); however, Donne e soldati, apart from marking Ferreri’s estrangement from Italian cinema for a number of years, today appears to display earthy and carnivalesque elements that will subsequently influence certain aspects of the Milanese director’s vision.

Donne e soldati was an example of a ‘decentralised’ production, far from Rome, something that for the most part Italian cinema didn’t fully succeed in achieving until the 1990s. . In many ways the film, which is both Picaresque and anti-heroic, was too far ahead of its time, and it is often considered the precursor to Monicelli’s L’armata brancaleone. This time out, Ferreri takes the reins as producer of the ill-fated undertaking (the two directors will never make another film); however, Donne e soldati, apart from marking Ferreri’s estrangement from Italian cinema for a number of years, today appears to display earthy and carnivalesque elements that will subsequently influence certain aspects of the Milanese director’s vision.

A young woman and a soldier team up to deliver an Austrian General to Italian forces during World War I. Their quest for the 1,000 Lire reward changes their lives unexpectedly.

A few days after the arrival of the year 1000, bearer of great misfortune according to the Prophets, the cavalryman Fortunato and two soldiers, Pannocchia and Carestia, travel through Italy in the midst of numerous adventures: The prophetic year is marked only by the discovery on the part of the cavalryman of his wife's betrayal

An estranged father and son on holiday bond over the beautiful foreign girl they find unconscious on the beach.

Simon (O.E. Hasse) fought in the Spanish Civil War (1936-39), but now he is an old man, readying himself for death. His daily life is filled with memories, reveries, feelings, and small but meaningful encounters; these are the stuff the film is made up of. Some of the musings are of a hallucinatory nature, as when he meets with a tramp during imaginary walks. Others are more ordinary, as when he interacts with his son's family or enjoys looking at the pretty women in the building across the street.

A machine that creates poetry causes problems.