1919年，墨索里尼被意大利社会党开除后成立了法西斯党，并迫国王交出权力，墨索里尼成为了意大利集大权于一身的领袖。他的女儿埃达也长成了大姑娘。女儿的个人感情与政治或者是与国家的命运相联系的时候，那就由不得自己了。墨索里尼的女儿与丈夫的爱情成了墨索里尼利益的牺牲品。

二战臭名昭著的意大利纳粹大魔头墨索里尼的传记片，讲述墨索里尼死前四天的故事。

纪录片探秘著名导演费里尼以及他的电影厂Cinecitta的故事，通过采访了和他一起共事过的剧组成员们，刻画了一个幕后的费里尼。导演费鲁乔·卡斯特努沃在1976年到1986年之间，纪录了费里尼创作《卡萨诺瓦》、《女人城》和《船续前行》等电影的幕后。纪录片采访到当时费里尼的合作伙伴们，谈及他们与这位大师的关系，以及与他一起工作和生活的经历，并在40年后将珍贵的影像剪辑展示。与费里尼一起迷失在幕后，与电影中熟悉的面孔再次相遇。

本片根据意大利著名导演帕索里尼制作的新闻电影片段整理修复，影片以新闻影像为素材，加入了电影拍摄画面和旁白诗歌，诠释了十九到二十世纪的大量西方历史事件，具有珍贵的政治和人文价值。

即便電影作品如何驚世駭俗、狂野暴戾，義大利經典大師巴索里尼也曾有過如詩的年少時光。一九四○年代，年方二十有餘的巴索里尼隨母親居住於北義小城斐烏里，他沈浸於鄉村生活的方言習俗與物質文化，也情竇初開地與當地莊稼青年共譜愛情序曲，並因而認識到同性戀情與肉體慾望的甘甜苦澀。草根生活啟發了巴索里尼的左翼政治觀點，使他與義大利共產黨結緣，並於二戰後首先選擇在貧民窟的中學任教。在巴索里尼五十三年的生命中，這段時期的情感經歷與社會見聞既唯美浪漫，卻也暴力現實，深刻地形塑了他的世界觀，也強烈地體現在他震撼人心的文學和電影作品中。 　　本片請來巴索里尼的詩人表親尼可納迪尼擔綱旁述，穿插著巴索里尼本人的聲線，以及來自舊地故人的資料影像，直探巴索里尼罕為人知的青春時期，也揭示了其藝術心靈的起點。 　　導演拒絕採用典型的歷史重建敘事方式，除了考據巴索里尼的手稿外，更搜羅廣引多部年代、地域吻合的紀錄片、攝影作品，甚至是佚名遺留的八釐米錄像，以詩意的電影語言串起各種形式的斷簡殘篇，意圖透過還原當年那座北義小鎮的朦朧輪廓，以召喚年輕氣盛的巴索里尼，以及他眼中的人間畸景。 　　本片在看得見的歷史餘燼中，提煉出一座看不見的城市，並演示了這座城與那些人，如何在歲月流逝後，轉映重現於巴索里尼的電影與文學世界之中。靈動跳躍於不同手法、編織各類影像素材的實驗精神，正與巴索里尼的藝術態度互通聲氣，也為這位逝世近半世紀的電影巨匠，獻上恰如其分的鎮魂輓歌。

即便電影作品如何驚世駭俗、狂野暴戾，義大利經典大師巴索里尼也曾有過如詩的年少時光。一九四○年代，年方二十有餘的巴索里尼隨母親居住於北義小城斐烏里，他沈浸於鄉村生活的方言習俗與物質文化，也情竇初開地與當地莊稼青年共譜愛情序曲，並因而認識到同性戀情與肉體慾望的甘甜苦澀。草根生活啟發了巴索里尼的左翼政治觀點，使他與義大利共產黨結緣，並於二戰後首先選擇在貧民窟的中學任教。在巴索里尼五十三年的生命中，這段時期的情感經歷與社會見聞既唯美浪漫，卻也暴力現實，深刻地形塑了他的世界觀，也強烈地體現在他震撼人心的文學和電影作品中。 　　本片請來巴索里尼的詩人表親尼可納迪尼擔綱旁述，穿插著巴索里尼本人的聲線，以及來自舊地故人的資料影像，直探巴索里尼罕為人知的青春時期，也揭示了其藝術心靈的起點。 　　導演拒絕採用典型的歷史重建敘事方式，除了考據巴索里尼的手稿外，更搜羅廣引多部年代、地域吻合的紀錄片、攝影作品，甚至是佚名遺留的八釐米錄像，以詩意的電影語言串起各種形式的斷簡殘篇，意圖透過還原當年那座北義小鎮的朦朧輪廓，以召喚年輕氣盛的巴索里尼，以及他眼中的人間畸景。 　　本片在看得見的歷史餘燼中，提煉出一座看不見的城市，並演示了這座城與那些人，如何在歲月流逝後，轉映重現於巴索里尼的電影與文學世界之中。靈動跳躍於不同手法、編織各類影像素材的實驗精神，正與巴索里尼的藝術態度互通聲氣，也為這位逝世近半世紀的電影巨匠，獻上恰如其分的鎮魂輓歌。

Carmen Piccini's delightful documentary "The Magic of Fellini" was shown recently on the Sundance channel. It was a complete surprise because of its subject, Federico Fellini, who was one of the best directors of Italy of the last century, one would think needed no explanation about what made him one of the most admired figures of the Italian cinema. Ms. Piccini explores the man who was a legend and in less than one hour she makes us feel as though one knew this charismatic man intimately. 　　What comes across in the film is Fellini's genius. He was a man who basically had the ideas in his mind and who seldom bothered to write a screen play detailing each scene of the film he was directing. Fellini was a master of the improvisation style and as such, he gave his actors a general guide line to follow as most of the dialog was added in the editing. He was famous for having some of the American stars he employed in his films just move their lips and concentrating on the characters they were creating. 　　There are hilarious interviews on camera with Anthony Quinn, whose Zampano, in "La Strada" was perhaps his best film work, and with Donald Sutherland, who played Casanova for the master. Donald Sutherland is seen mumbling numbers in Italian that were later dubbed with an actor's voice speaking the great lines Fellini and his collaborators added later on. Claudia Cardinale is also seen in an interview on camera as she tries to explains the magic of working with Fellini. 　　Ms Piccini has included some of the best moments in the films Fellini directed such as the sequence when Anita Ekberg enters the Trevi fountain in Rome, in "La dolce vita". She also includes two of the best scenes from "Le notti di Cabiria" in which Giulietta Massina is seen dancing with the film star portrayed by Amadeo Nazzari, and later on as the film is ending when one sees Cabiria shedding tears as she walks home at the end of the picture. 　　This documentary is essential for admirers of Federico Fellini and Carmen Piccini has made it possible to the great director's fans to discover yet another layer of the man who was an absolute original.

The story starts at the point in Benito Mussolini's life when, at the age of nineteen, he gave up being a schoolmaster, left his home town of Forli and, as a guest worker on a building-site in Lausanne, Switzerland, underwent his own personal experience of the darker sides of the capitalist system. The speed with which the rhetorically gifted demagogue manages to assemble whole crowds of friends and followers around him - including above all his "protectress", the enigmatic Russian woman Angelika - is reflected in the speed at which he succeeds in attracting enemies from church and state. His love for the beautiful Eleonora, the daughter of a middle-class family, studying medicine at the University of Geneva - a city where Mussolini himself has been carrying stone around as an unskilled worker - even convinces him to take up studying. When a fatal accident occurs on the building-site - a worker plunges to his death from a badly-secured section of scaffolding - the young student Mussolini calls for a general strike. Arrest and expulsion are the consequences of this first piece of agitation, and it is only the intervention of his influential friend Angelika which saves him from being thrown into jail. But Mussolini is not a man to give up easily. Soon he's successful again, in Trieste, working as editor of the socialist newspaper "L'Avventure del Lavoratore", and a conflict soon arises between himself and the local clergy. This, however, provides the local imperial Austrian authorities with the excuse they need to expel this troublemaker and agitator from the country. Back in his native town of Forlì, Mussolini marries Rachele, his childhood sweetheart. But he's still a long way from settling down into a "bourgeois" lifestyle - he spends far more time with his comrades, and especially the pretty female comrades, than with Rachele and the family. It's not long before Mussolini becomes local chief of the Italian Socialist Party, in which he reveals his secure instinct for power and his talent for intrigue as he plays off various sections of the left against each other. Very soon he's levered his arch-rival Bissolati out of office: in Milan Mussolini becomes editor-in-chief of the country's largest socialist newspaper, "Avanti!". Mussolini exploited the escalation in violence among the country's workers for his own ends. The "reds" - the left-wing Socialists - and the "yellows" - the Republicans - were involved in a bitter war with each other. At the peak of this crisis, however, World War I broke out. While the Italian Nationalists are urging the country to take part in the war, the left wing builds its support on the pacifist strength of the "Socialist International": the workers of Europe must unite against the imperialist warmongers! Now that those in power represent a common enemy, Mussolini - via an adroit move - succeeds in uniting the warring left-wing factions. Although hopes that a united European left will be able to stop the war are soon dashed, Mussolini is now more powerful than ever before. It is at this period of his life that he begins to have growing doubts about neutrality and pacifism being worthy aims for a true revolutionary. Gradually he turns all his allies, even the staunchest ones, into enemies, including his beloved Angelika, by showing a lot of sympathy towards the landowning classes. The last great chapter in the history of Mussolini the socialist is now played out against the backdrop of World War I, and the transformation begins which will eventually lead him to found an entirely different type of socialism altogether - Fascismo. While the pacifists in his party are pressing for neutrality, Mussolini finally allows himself to be "bought" by the Conservative government. The former anti-war campaigner turned opportunist now supports the war. Now he's on his own - and at the turning-point of his political career...

意大利著名导演皮埃尔-保罗-帕索里尼(曾拍摄《索多玛120天》)的死亡，一直是一个未解之谜。官方说法是帕索里尼死于两个同性恋间的斗殴，也有说他是被一个…

在第二次世界大战尾声，一群由反抗义士组成的杂牌军筹划了一场异想天开的劫案：潜入米兰的法西斯总部，洗劫墨索里尼的珍宝。