Paola Mori

Claiming that he doesn't know his own past, a rich man enlists an ex-con with an odd bit of detective work. Gregory Arkadin says he can't remember anything before the late 1920s, and convict Guy Van Stratten is happy to take the job of exploring his new acquaintance's life story. Guy's research turns up stunning details about his employer's past, and as his work seems linked to untimely deaths, the mystery surrounding Mr. Arkadin deepens.

A posthumous 1992 reconstruction of Orson Welles’s long-unfinished Don Quixote project, edited by Jesús Franco from footage shot between 1957 and 1972, following Don Quixote and Sancho Panza as they wander modern Spain in pursuit of chivalric ideals. (Note: This version represents a later editorial assembly, not a film completed by Welles.)

An unbroadcast 1958 essay-film by Orson Welles, blending documentary, personal reflection, and cultural portraiture in a subjective study of Italy and actress Gina Lollobrigida.

A rich merchant, Antonio is depressed for no good reason, until his good friend Bassanio comes to tell him how he's in love with Portia. Portia's father has died and left a very strange will: only the man that picks the correct casket out of three (silver, gold, and lead) can marry her. Bassanio, unfortunately, is strapped for cash with which to go wooing, and Antonio wants to help, so Antonio borrows the money from Shylock, the money-lender. But Shylock has been nursing a grudge against Antonio's insults, and makes unusual terms to the loan. And when Antonio's business fails, those terms threaten his life, and it's up to Bassanio and Portia to save him.

Nobleman Rainiero, Sidonia's duke son, comes back home with his friend Renzo. Soon after arrival, Renzo will get in a big trouble and he will be forced to choose between going to church for marriage or going to prison.

Massimo pretends to be rich but he's actually poor.

The film recalls Orson Welles’ Italian period. “Rosabella” is the translation, proposed by the first Italian adaptation, of “Rosebud,” the object at the center of the story of Charles Foster Kane, the main character of Citizen Kane (1941), Welles’ debut film.