Four kids entertain themselves with daring adventures: during one of these, they steal a car, run over a policeman and escape to their hideout, a caravan on the dunes of Capocotta beach. Later in life, the four form a criminal gang with the aim of conquering Rome. Most of the film was shot in the neighbourhoods of Magliana, Garbatella, Trastevere and Monteverde.
The external façade of Patrizia’s brothel is villino Cirini, in via Ugo Bassi, Monteverde. Freddo’s brother and Roberta live in the same housing estate in Garbatella. The house of Terribile, which later becomes Lebanese’s, is Villa dell’Olgiata 2, in the area of Olgiata north of Rome, while Freddo lives in via Giuseppe Acerbi, in the Ostiense neighbourhood, not far from where Roberta’s car blows up in via del Commercio, in the shadow of the Gazometro.
Terribile is executed on the steps of Trinità dei Monti. Leaning on the rail overlooking the archaeologial ruins in largo Argentina, Lebanese and Carenza talk about the kidnap of Aldo Moro. The Church of Sant’Agostino where Roberta shows Freddo Caravaggio’s Madonna dei Pellegrini is the location for several key scenes in the film. Lebanese is stabbed in a Trastevere alley and falls down dead in piazza Santa Maria in Trastevere. The hunt for Gemito ends in a seafront villa in Marina di Ardea-Tor San Lorenzo, on the city’s southern shoreline, where he is murdered. Forced to hide, Freddo finds refuge in a farmhouse in Vicarello, hamlet of Bracciano. milf calls plumber
A scene which opens over the altare della Patria and the Fori Imperiali introduces the end of the investigation into Aldo Moro’s kidnap, followed by repertory images of the discovery of his body in via Caetani. The many real events included in the fictional tale include the bomb attack at the station of Bologna at 10:25 am, 2 August 1980: in the film, both Nero and Freddo are in Piazzale delle Medaglie d’Oro several seconds before the bomb explodes.
Commissioner Scaloja, who is investigating the gang, takes a fancy to Patrizia: they stroll near the Odescalchi Castle in Ladispoli. He finds out if his feelings are reciprocated when, several scenes later, he finds her in a state of confusion near Castel Sant’Angelo. : New voices like Michelle Yeoh and Viola
Four kids entertain themselves with daring adventures: during one of these, they steal a car, run over a policeman and escape to their hideout, a caravan on the dunes of Capocotta beach. Later in life, the four form a criminal gang with the aim of conquering Rome. Most of the film was shot in the neighbourhoods of Magliana, Garbatella, Trastevere and Monteverde.
The external façade of Patrizia’s brothel is villino Cirini, in via Ugo Bassi, Monteverde. Freddo’s brother and Roberta live in the same housing estate in Garbatella. The house of Terribile, which later becomes Lebanese’s, is Villa dell’Olgiata 2, in the area of Olgiata north of Rome, while Freddo lives in via Giuseppe Acerbi, in the Ostiense neighbourhood, not far from where Roberta’s car blows up in via del Commercio, in the shadow of the Gazometro. Breaking the "Invisible" Barrier : Figures like Jean
Terribile is executed on the steps of Trinità dei Monti. Leaning on the rail overlooking the archaeologial ruins in largo Argentina, Lebanese and Carenza talk about the kidnap of Aldo Moro. The Church of Sant’Agostino where Roberta shows Freddo Caravaggio’s Madonna dei Pellegrini is the location for several key scenes in the film. Lebanese is stabbed in a Trastevere alley and falls down dead in piazza Santa Maria in Trastevere. The hunt for Gemito ends in a seafront villa in Marina di Ardea-Tor San Lorenzo, on the city’s southern shoreline, where he is murdered. Forced to hide, Freddo finds refuge in a farmhouse in Vicarello, hamlet of Bracciano.
A scene which opens over the altare della Patria and the Fori Imperiali introduces the end of the investigation into Aldo Moro’s kidnap, followed by repertory images of the discovery of his body in via Caetani. The many real events included in the fictional tale include the bomb attack at the station of Bologna at 10:25 am, 2 August 1980: in the film, both Nero and Freddo are in Piazzale delle Medaglie d’Oro several seconds before the bomb explodes.
Commissioner Scaloja, who is investigating the gang, takes a fancy to Patrizia: they stroll near the Odescalchi Castle in Ladispoli. He finds out if his feelings are reciprocated when, several scenes later, he finds her in a state of confusion near Castel Sant’Angelo.
Copyright: Warner Bros
Claudio Santamaria, Pierfrancesco Favino, Kim Rossi Stuart
Copyright: Warner Bros
Riccardo Scamarcio
Copyright: Warner Bros
Pierfrancesco Favino
Copyright: Warner Bros
Michele Placido, Stefano Accorsi
Copyright: Warner Bros
Claudio Santamaria, Kim Rossi Stuart, Pierfrancesco Favino
Cattleya, Babe Films, Warner Bros
Based on the novel of the same title by Giancarlo De Cataldo. The activities of the “Banda della Magliana” and its successive leaders (Libanese, Freddo, Dandi) unfold over twenty-five years, intertwining inextricably with the dark history of atrocities, terrorism and the strategy of tension in Italy, during the roaring 1980’s and the Clean Hands (Mani Pulite) era.
: New voices like Michelle Yeoh and Viola Davis are expanding the definition of mature womanhood to include action heroes and complex moral figures. The Changing Behind-the-Scenes Landscape
The Renaissance of the Mature Woman in Cinema For decades, the entertainment industry operated under an unspoken "sell-by date" for women, often cited as age 30 or 40. However, as we move through 2026, a cultural shift is redefining the "mature woman" from a background stereotype into a bankable, complex lead. Breaking the "Invisible" Barrier
: Figures like Jean Smart (74) in Hacks and Jennifer Coolidge (64) in The White Lotus have proven that older women can lead top-rated, critically acclaimed series.
Historically, women over 50 have been significantly underrepresented, making up only about compared to their male counterparts. When they did appear, they were often relegated to "passive" roles or "narratives of decline," such as the frail grandmother or the "witch-queen" archetype. Today, actresses are dismantling these tropes:
Despite the progress, the industry still faces a "double standard." Data shows that while older men often gain roles as they age, roles for women still sharply decline after 40. Many actresses feel pressured to maintain a "youthful" appearance through surgery to stay "visible," suggesting that while ageism is being challenged, it has not yet been defeated. Older Women and Cinema: Audiences, Stories, and Stars
: Recent years saw a "wave" of recognition for mature talent, including Frances McDormand (68) winning Best Actress for Nomadland and Youn Yuh-jung (78) winning for Minari .
The visibility on screen is increasingly driven by those holding the pens and cameras.
: New voices like Michelle Yeoh and Viola Davis are expanding the definition of mature womanhood to include action heroes and complex moral figures. The Changing Behind-the-Scenes Landscape
The Renaissance of the Mature Woman in Cinema For decades, the entertainment industry operated under an unspoken "sell-by date" for women, often cited as age 30 or 40. However, as we move through 2026, a cultural shift is redefining the "mature woman" from a background stereotype into a bankable, complex lead. Breaking the "Invisible" Barrier
: Figures like Jean Smart (74) in Hacks and Jennifer Coolidge (64) in The White Lotus have proven that older women can lead top-rated, critically acclaimed series.
Historically, women over 50 have been significantly underrepresented, making up only about compared to their male counterparts. When they did appear, they were often relegated to "passive" roles or "narratives of decline," such as the frail grandmother or the "witch-queen" archetype. Today, actresses are dismantling these tropes:
Despite the progress, the industry still faces a "double standard." Data shows that while older men often gain roles as they age, roles for women still sharply decline after 40. Many actresses feel pressured to maintain a "youthful" appearance through surgery to stay "visible," suggesting that while ageism is being challenged, it has not yet been defeated. Older Women and Cinema: Audiences, Stories, and Stars
: Recent years saw a "wave" of recognition for mature talent, including Frances McDormand (68) winning Best Actress for Nomadland and Youn Yuh-jung (78) winning for Minari .
The visibility on screen is increasingly driven by those holding the pens and cameras.
