After ten years battling in the Trojan War—and another ten on an epic journey homeward—Ulysses returns to his homeland. Disguised as a beggar, the king of Ithaca must recover his wife, his son, and his people... Il ritorno d'Ulisse in patria (Venice, 1640), directed here by Klaus-Michael Grüber and conducted by Nikolaus Harnoncourt, achieves a perfect dramatic balance, stirring the imagination and instantly transporting the viewer to a long-ago time. The all-star cast features one of the earliest recorded appearances by the great Jonas Kaufmann, who makes his presence felt as Ulisse's son Telemaco.

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After the news of the death of Don Dino, who was transferred to Trentino, Donato leaves to attend the funeral. When he arrives at his destination, he discovers that he has been appointed his deputy in the parish.

Franco Califano, fallen and resurrected several times, begins his third life after the years of drugs and prison, of a youth lived to the last breath, appearing at Sanremo just to come in last in the rankings. But his third life as an artist has just begun, and it takes place during the sold-out concerts organized by his unconventional manager who, instead of choosing high-end venues, sets dates in dance halls and trattorias frequented by the people who love him. Around Franco, his lifelong friends, who have common names, far from show business, and who support and encourage him, look after him while the blows of age and a wild life begin to be felt, while his legend, destined to last, continues to grow.

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As every year, German brewery tycoon Karl Schneibel spends the summer holiday on an Italian island with his beloved grandson Christian, near the children's home run by his ma, Dr. Gioia. This year however, Christian's heart isn't in his summer fling but his lover at home, Anna, daughter of Karl's general manager Dr. Werner. Christian has a bad eye in Veronica, the woman who became Karl's much younger lover 'by travel fate', the first thing soon proved untrue. But by then, the Schneibel firm and estate have been taken over according to an elaborate conspiracy, which Christian takes on with some help from his friends.

A movie about sinners and their quest for salvation. But God is hard to find.

PATRIA (pronounced PAY-tree-uh), a 15-episode "preparedness serial" filmed by the Whartons in Ithaca, New York, in 1916, cast the Japanese, with whom we were not at war, as the villains in a spy story. Warner "Charlie Chan" Oland plays the chief villain, Baron Huroki, who is determined to gain munitions factory and "defense fund" heiress Patria Channing's vast wealth for Japan. Irene Castle and her husband Vernon were famous dancers in their era and introduced syncopated dance steps inspired by ragtime music into their act. Milton Sills, a popular silent movie leading man, did not live long enough to make it into sound films. Mike Rale, playing Huroki's right-hand-man Kato here, was a Wharton studio regular, and before filming PATRIA had just finished portraying the evil Master in THE MYSTERIES OF MYRA. The exploding boat scene was filmed on Cayuga Lake in Ithaca. Only reels from Episodes 2, 3, 4 and 10 plus a fragment from a later episode are known to survive of this serial. This video includes a summary of Episode 1 and the near-complete Episode 2. Some title cards, and the letter and telegram, not present in the found footage, have been reconstructed from the original novel. Also, Warner Oland's character name has been restored to "Baron Huroki" -- it was changed to "Manuel Morales" and he was referred to as a Mexican in a revised release produced due to a complaint by Woodrow Wilson regarding the portrayal of the Japanese in the original version of the serial. It was implied then in the revision that his army was also Mexican -- although clearly they were not. So to avoid the awkwardness of presenting scenes of actors in kimonos named Manuel and Juan, this restoration is being presented in a fashion more closely resembling the original release.

Oscar and Arthur are two actors without fortune who survive unemployment with a routine street, where one represents the thief and the other to the police. Thanks to this performance are "hired" by Mr. Mauricio Tavares to play a practical joke on dangerous Don Antonio Robledo, a senior executive who suffer a fictional kidnapping for later culminate in a surprise party.