Upon his death, a young African director, Abramo Malonga, bequeathed his first and last unfinished film to his former teacher, the Italian director Fausto Morelli. Morelli, who after seeing the work, is confronted with a confusing, complex and, in part, incomprehensible work. Helped by the young widow of Abramo Malonga and by the notes left by his deceased friend, and again by his personal memories, the Italian director attempts to reconstruct and complete the film. Fausto's work progresses with difficulty, not only because of the problems the film poses for him, but because of the problems that arise in his daily life. After a long crisis, after which he returns to Pisa with his former party companions and abandons himself to love and his own solitude, Fausto takes up the work of his African friend, closing it with a final invention, in which , with a bold metaphor, has refigured the human condition of our time.

En la frontera ruso-polaca de los años 20, los contrabandistas vivían en un ambiente de camaradería y lealtad. Vladek y Topo son contratados como transportistas por la banda de Sashka, y a pesar de la profunda amistad que les une, Vladek se enamora de la novia del bandido.

Political activist Salvatore returns to his native Sicily and stirs up trouble among the peasants, urging them to confront the Mafia and demand the right to plough their own fields. The peasants refuse to help him, and Salvatore is marked by the Mafia as a troublemaker...

Omnibus features were particularly popular Italian exports in the 1960s as they gave audiences a sampler plate of exciting foreign directors, stars, perspectives and oft-racy themes in one easily digestible package. This rare, star-studded curio waxes very cheeky about the Catholic Church's iron-clad hold on the sanctity of marriage and the modern omnipresence of divorce in five episodes that encompassing everything from farcical to the poignant. Their settings range from a sanitarium to the Vatican itself, their diverse protagonists from two very bratty little boys to a quarreling couple who address the camera directly. The players include Ugo Tognazzi, best remembered now for his turn in the original LA CAGE AUX FOLLES movies; French actress Annie Girardot, who'd endeared herself to Italian audiences a few years earlier as the doomed, unforgettable Nadia in Luchino Visconti's ROCCO AND HIS BROTHERS; Romolo Valli, who'd also play memorable roles for Bernardo Bertolucci, Joseph Losey, Vittorio De Sica, Roger Vadim and Sergio Leone; and Italian sexpot Scilla Gabel, who for a while was almost as famous a Eurobabe as Sophia Loren and Brigitte Bardot. This eccentric, entertaining compendium of linked narrative and moral ideas boasts frequently striking black-and-white imagery. - Dennis Harvey