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The life and career of a Nobel Prize-winning author, exploring his conflicted relationships, controversial stance on fascism, and pursuit of unconditional love, spanning Rome, Stockholm, Berlin, Sicily, Milan, and America.

The Catholic Church secretly investigates Caravaggio as the Pope weighs whether to grant him clemency for killing a rival.

The owners of an Italian textile factory sell majority of property to a multinational company.

A childless couple struggle in the aftermath of a sexual assault leaves the woman pregnant.

The first rule, a film directed by Massimiliano D'Epiro, tells a glimpse of the historical period we are experiencing: a suburban high school, structures, students and teaching staff are the exemplary mirror of a social and economic depression that seems irreversible. To make matters worse, a few meters from the school, among the houses in the neighborhood, is the "Zoo", a migrant assistance center that has become a permanent refugee camp over the years. A professor is called to teach a remedial course for six students suspended for disciplinary reasons. They meet every afternoon, when it is already dark outside, inside a classroom on the outskirts where, after the initial hostility and mistrust, the professor manages to win the trust of the children and obtain surprising results. But when clashes break out between the population and migrants, the situation quickly gets out of hand. The city is invaded by the military, journalists, demonstrators. The tension grows. All the contradictions of a society left to itself come out. In this bleak picture, the conflicts brewing in the school and in the students' minds explode tragically.

1962, Pietro a young boy of 9, is entrusted by his dead mother's sister, to Benito a Neapolitan rag-trader who - supposedly - should take him to Germany to find his estranged father emigrated years back. After a long and difficult journey fraught with unpleasant events, they end up mingling into the community of factory workers whose daily hard life young Pietro is forced to share, but where - underneath the roughness - he finds warmth and affection.

A young man from Somalia but raised in Rome is getting ready to meet the parents of his girlfriend, a Russian girl raised in Italy and living in Albano. The story focuses on the hours before the meeting takes place, following the life of our young protagonist, Mohamed, 25 years old. We get to know better the streets of Termini, which appear to us as the streets of a film by Spike Lee, populated exclusively by black people; we get in touch with Mohamed's friends: all second-generation kids who spend their time screwing around on a bench in Piazza dei Cinquecento. His friends start to tease him about his clothes, typical of the black people raging in Spike's movies. They do it good-naturally, but Mohamed starts to fear the possible reaction of his in-laws, who are not aware of the color of his skin. For this reason, he is convinced that it is better to thin out his Afro haircut. At the Black Hair, an African hairdresser/barber, in a whirlwind of jokes, a generational conflict on the theme of identity explodes. But Mohamed suddenly puts the discussion to rest by pulling out all his innate optimism: "We are in 2018, the color of the skin is not an issue anymore!", screams indignant, taking the sudden decision not to cut his hair and to meet his in-laws for what he really is. With this conviction, actually weaker and weaker, Mohamed gets on the train that takes him to Albano, where his girlfriend is waiting for him.

Christian is 8 y.o. and he is bullied at school because of his extremely long hair. Whilst his mom tries to cut his hair, she discovers the reason behind the heroic act of her young son.

"Tomorrow, I won't be alive anymore," Francesco tersely tells his family, gathered for dinner. He has decided to commit suicide because he can't bear living without his wife, who died three months earlier, and can't imagine the idea of getting used to the pain. After the initial shock, his parents and his sisters try to make him change his mind. Michele Placido embellishes on the theatrical play written and performed by Filippo Gili, calling attention to a major taboo of our society.