A recently widowed American begins an anonymous sexual relationship with a young Parisian woman.

Three brothers who haven't spoken to each other for years would like to satisfy the wish of their elderly and ill father who has never seen Paris.

A businessman in Italy, who doesn't pay any taxes, and a financier always on the hunt for tax evaders come into contact because their sons share an apartment in Paris.

An ambitious French girl who moved to Italy to be an actress cannot break through and then opts for a normal life.

The story of Jean Valjean, still pursued by Javert, continues with a love developing between Cosette and radical student Marius, a blackmailing attempt by suspicious innkeeper Thenardier, and a climax on the barricades of Paris.

A group of Italian soccer fans arrive in Paris for a match, but most of them go their separate ways to explore the sights, have a bit of an adventure, and maybe even find some romance.

Fifty years after his passing, we embark on a journey through Pablo Picasso's Paris, amidst sunshine and shadow, convictions and contradictions, from a young, impoverished foreigner to one of the most important icons of the 20th-century. The film moves continuously in and out of the Musée Picasso in Paris which has the largest existing collection dedicated to the painter with 6,000 masterpieces and 200,000 pieces of archive material, and follows Picasso through the Parisian neighborhoods where he lived, from the early days in ateliers with no heating to the large middle-class apartments where his success began: a physical and intellectual journey to gain a deeper understanding of his work and spirit.

Parigi O Cara is probably the most camp in the history of Italian cinema, certainly a favourite with the GLBT community who quote its lines by heart. Unique as it's the only film where Franca Valeri (now 90) is the unquestioned star, in the role of Delia, a snobbish, stingy prostitute who is moving to Paris looking for greener and more lucrative pastures. An anti-neorealist, amoral, almost abstract comedy, which anticipates Almodóvar, a ferocious, though gentle, non-moralistic portrayal of the 60's boom and its broken dreams. The dialogue between Delia and her brother (played by Fiorenzo Fiorentini), when he does (or does not) tell her he is a homosexual, is memorable, a primordial coming-out, a masterpiece of allusions. But what makes it one of the first examples of a film with a "gay point of view" is the approach: perceptive, non-conformist, caustically witty. A film ahead of its times, still unbeaten.