Accattone

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.

Two dramatic stories. In an undetermined past, a young cannibal (who killed his own father) is condemned to be torn to pieces by some wild beasts. In the second story, Julian, the young son of a post-war German industrialist, is on the way to lie down with his farm's pigs, because he doesn't like human relationships.

A man and his son take an allegorical stroll through life with a talking bird that spouts social and political philosophy.

Based on the plot of Euripides' Medea. Medea centers on the barbarian protagonist as she finds her position in the Greek world threatened, and the revenge she takes against her husband Jason who has betrayed her for another woman.

In a farmhouse in southern Italy, an old woman dies. Her husband summons their sons: from Rome, Raffaele, a judge facing a political case for which he risks assassination; from Naples, the religious and ideological Rocco, a counselor at a correctional institute for boys; from Turin, Nicola, a factory worker involved in labor disputes. Once home, each encounters the past and engages in reveries of what may come.

United by an uncompromising struggle as members of the infamous 1970s far-left terrorist group Prima Linea, fugitive couple Sergio and Susanna have become increasingly alienated from the real world. Their luck runs out when Susanna is captured and thrown in jail. Putting his life on the line, Sergio embarks on a radical plan... Loosely based on the memoir by Prima Linea's 'commander' Sergio Segio.

An anthology film consisting of four stories. (1) A man reads a Dracula novel while in bed, but cannot seem to tell the novel from reality, causing sleep troubles. (2) A man cannot escape the absurd ads he saw at the movie theater that day. (3) A polluted and construction-ridden town keeps everybody on edge, sending one man to the doctor. (4) A hunter, a farmer and a couple on a picnic unknowingly cause continuous trouble for one another.

Tommaso has just left his first wife but he will meet a new person who will change everything in his life.

Francesco is a Tuscan who is very good at playing American pool, so much so that he is nicknamed "Mr. Quindicipalle", for the time he performed the unlikely feat of pocketing fifteen (quindici) balls (palle) in one shot, using the wooden handle of a broom as his cue stick. Francesco is also an experienced womanizer, like his recently deceased father. Indeed, Francesco meets the woman of his dreams at his father's funeral – a prostitute who calls herself Sissi. The two fall in love, and so Francesco thinks she might be a lucky charm for him, in his training for a big pool tournament. But Sissi frequently infuriates Francesco, compromising his skill and his training for the tournament.

Four short films by four different directors dealing with the principles of modern life.

Along a rocky, barren coastline, Jesus begins teaching, primarily using parables. He attracts disciples; he's stern, brusque, and demanding. His parables often take on the powers that be, so he and his teachings come to the attention of the Pharisees, the chief priests, and elders. They conspire to have him arrested, beaten, tried, and crucified, just as he prophesied to his followers.

Pier Paolo Pasolini sets out to interview Italians about sex, apparently their least favorite thing to talk about in public: he asks children if they know where babies come from; asks old and young women if they support gender equality; asks both sexes if a woman's virginity still matters, what do they think of homosexuality, if divorce should be legal, or if they support the recent abolition of brothels. He interviews blue-collar workers, intellectuals, college students, rural farmers, the bourgeoisie, and every other kind of people, painting a vivid portrait of a rapidly-industrializing Italy, hanging between modernity and tradition — toward both of which Pasolini shows equal distrust.