In 1914 Milan, fiery socialist journalist Benito Mussolini (Timi) meets and marries Ida Dalser (Mezzogiorno), who gives up her life to support her husband, and soon gives birth to a son (Costella and later Timi). But during the Great War, Benito disappears and then resurfaces with a new wife Rachele (Cescon) and a team of goons who forcibly keep Ida away, eventually locking her away in a mental institution and sidelining her son. But as Benito shifts into fascism and rises to enormous power, she refuses to give up without a fight.
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Teenager Alessandro doesn't know what he wants, but life in his dead-end Italian town has got him angry, fidgety, and restless -- not a safe state of affairs for somebody who's already mentally on edge. Like Leone, Alessandro is prone to epileptic fits. What's more, with his cool, pragmatic attitude to murder and suicide, he's also a budding serial killer. In his older brother, Augusto (Marion Masé), Alessandro sees a suave (not to mention, sane) go-getter with a girlfriend, and who might have a shot at happiness if he weren't indentured to a clan of cripples and lunatics. Dangerously self-loathing, rattling the bars of his existential cage, Alessandro pledges to make life easier for Augusto by killing off his familial "liabilities." And so it goes, with Alessandro expressing not a shred of regret until his own infirmities begin to threaten the consummation of his scheme.
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Inherently dramatic, Good Morning, Night has a strong premise addressing issues of responsibility and the dynamics of power. The Red Brigade terrorist group kidnaps Italian President Aldo Moro (Roberto Herlitzka) and holds him in their cell -- a small house in a suburban neighborhood. The youngest member of the group, and the only female, is Anna (Maya Sansa), who takes on the role of housewife for her three revolutionary companions and has a soul-stifling job at the local library. As days pass and the terrorists negotiate with the authorities, Anna questions her role in the political machinations. Though she never really grows more self-aware, she feels a sense of guilt over the possibility of killing Moro.
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