Non eravamo solo... Ladri di biciclette - Il neorealismo

A short film in which Isabella Rossellini discusses the life and work of her father, Roberto Rossellini.

World-renowned director Martin Scorsese narrates this journey through his favorites in Italian cinema.

On the evening of March 11, 1950, Annabella Bracci, a 12-year-old girl, was brutally killed and thrown into a pit on the outskirts of Rome, near the village of Primavalle. A brief and poetic account of the events and their impact on an impoverished community. A handful of wild flowers and a painful catch in the voices.

A film scholar named Mark Shiel discusses the history of italian neo-realism in filmmaking, accompanied by rare still photographs and newly restored film footage.

A teenage skateboarder becomes suspected of being connected with a security guard who suffered a brutal death in a skate park called "Paranoid Park".

The story of a girl with a difficult family situation. Friends on the street who help her find the way, but fate has other plans for her.

The film represents life in a godforsaken Russian village. The only way to reach the mainland is to cross the lake by boat and a postman became the only connection with the outside world. A reserved community has been set up here. Despite the modern technologies and a spaceport nearby the people of the village live the way they would in the Neolithic Era. There is neither government nor social services or jobs. The postman's beloved woman escapes the village life and moves to the city. Postman's outboard engine gets stolen and he can no longer deliver mail. His normal pattern of life is disrupted. The postman makes a decision to leave for the city too but returns before long with no certain reason. The script is based on real characters' stories. People from the village play their own parts in the film. The search for the protagonist lasted for over a year.

After years spent working as a prostitute in her Italian village, middle-aged Mamma Roma has saved enough money to buy herself a fruit stand so that she can have a respectable middle-class life and reestablish contact with the 16-year-old son she abandoned when he was an infant. But her former pimp threatens to expose her sordid past, and her troubled son seems destined to fall into a life of crime and violence.

Director Maurizio Nichetti is invited on TV to introduce a screening of his neo-realist classic 'The Icicle Thief'. He is horrified to discover that his black-and-white tale of life in poverty is constantly interrupted by garish color commercials, and even more horrified when a power cut in the studio causes film and commercials to mix up – a glamorous model finds herself in the arms of an unemployed pauper, while his wife finds herself in consumers' heaven. Nichetti has to break into the film to try to sort everything out.

A wealthy, self-absorbed Rome socialite is racked by guilt over the death of her young son. As a way of dealing with her grief and finding meaning in her life, she decides to devote her time and money to the city’s poor and sick. Her newfound, single-minded activism leads to conflicts with her husband and questions about her sanity.

A teacher discovers his calling. Marco relocates to Palermo from Milan and takes a job teaching in a reform school while he waits for a high school position. He tries to understand and motivate his handful of students, reading them colloquial poetry, encouraging them to stand up for their rights, finding out about their histories. Natale, in for murder, enamoured of the Mafia, the King Rat within the group; Mery, a drag queen, arrested for assault when defending himself, in love with Mario and, in daylight, rejected by all; Pietro, illiterate, muscular, believing his destiny is set; the callow Claudio, vulnerable, learning to harden himself. What can Mario learn and do in such a short time?