A story of four Rome riot cops who serve the public peace but are hated by the people they protect. These are men besieged by darkness, wielding the baton, raising their shields, and dispersing the public as they battle their personal demons.
The Japanese Prime Minster is coming to Rome to meet his Italian counterpart. When super security expert Kuroda arrives on the scene, no detail escapes his notice and his ability to speak Italian makes him invaluable. Days before the Prime Minister’s arrival, a Japanese girl is kidnapped and He finds that there’s more intrigue than just a simple kidnapping.
The residents of a Crystal Line need a new sewer. In the summer, the stench from the river is unbearable in the small Brazilian town. There’s no funding for a sewer but there is a cultural grant to make a movie. The citizens decide that a film about sewers is exactly what they need.
A film about that awkward crossing over period around 30-35 for men. A time when men either continue to be immature and self-indulgent, or succumb to the demands of family and the responsibility it brings. Some men may recognize themselves as the protagonist in this tale.
Megghy is obsessed with losing her virginity, she’s shamelessly conned her aunt to go to the destination infamously known as the “island of love”. Despite appearances, she isn’t desperate for the physical act. She desperately wants boys to notice her, but believes they’re not interested because of her virgin status. She’s a girl anxious to become a woman, with all the belief that she’s already an adult.
Gamorra’s director Matteo Garrone, was like a fine new age chef. He took something we’re familiar with — the gangster film — and deconstructed it into its base ingredients. He lets the audience digest it separately, hoping we’d recognize the final product.