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. [S2E10] In My Heels
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. Tonight was the season finale of her life—or
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. "Five minutes, Maya," the stage manager barked, passing by
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
![[S2E10] In My Heels](https://www.italyformovies.com/app/img/thumbnail/film/locandine/romanzo_criminale_locandina_1745329664.webp)
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.
Tonight was the season finale of her life—or at least it felt that way. After ten weeks of competition, Maya was the last queen standing from the local circuit, and the stakes for the "In My Heels" showcase were more than just a crown. They were about respect. "Five minutes, Maya," the stage manager barked, passing by.
The neon sign for The Velvet Lounge flickered, casting a rhythmic pink glow over Maya’s face as she sat at her vanity. In the hallway, the muffled bass of a dance track signaled that the house was already full.
When she hit the stage, the spotlight was blinding. The music started—a slow, soulful grind that built into an anthem. Maya didn't just dance; she told a story. She moved with a grace that defied the physics of her footwear. Every pivot was a rebuttal to her doubters; every high kick was a reach for the life she knew she deserved.
Maya looked at her reflection. She wasn’t just wearing four-inch stilettos; she was wearing the weight of every double shift she’d pulled at the diner to pay for this silk, every late night spent sewing sequins until her fingers bled, and every time someone had told her she was "too much."
She leaned into the stumble, turning it into a dramatic, slow-motion roll that ended in a defiant split. The room erupted. As she rose, she kicked the shoes off entirely, finishing the set in her stockings, her feet touching the cold stage for the first time.
She realized then that the power wasn't in the height of the heel, but in the soul of the person standing in them. She had walked a mile in her own shoes, and she had never stood taller.
In the middle of the bridge, a heel caught on a loose floorboard. The crowd gasped, a collective intake of breath that echoed through the rafters. Maya stumbled, her ankle buckling for a terrifying micro-second. But she didn't fall.
She stood up, the world shifting as she ascended into her six-foot-four persona. Her heels clicked against the hardwood—a sharp, percussive sound that felt like a heartbeat.
Tonight was the season finale of her life—or at least it felt that way. After ten weeks of competition, Maya was the last queen standing from the local circuit, and the stakes for the "In My Heels" showcase were more than just a crown. They were about respect. "Five minutes, Maya," the stage manager barked, passing by.
The neon sign for The Velvet Lounge flickered, casting a rhythmic pink glow over Maya’s face as she sat at her vanity. In the hallway, the muffled bass of a dance track signaled that the house was already full.
When she hit the stage, the spotlight was blinding. The music started—a slow, soulful grind that built into an anthem. Maya didn't just dance; she told a story. She moved with a grace that defied the physics of her footwear. Every pivot was a rebuttal to her doubters; every high kick was a reach for the life she knew she deserved.
Maya looked at her reflection. She wasn’t just wearing four-inch stilettos; she was wearing the weight of every double shift she’d pulled at the diner to pay for this silk, every late night spent sewing sequins until her fingers bled, and every time someone had told her she was "too much."
She leaned into the stumble, turning it into a dramatic, slow-motion roll that ended in a defiant split. The room erupted. As she rose, she kicked the shoes off entirely, finishing the set in her stockings, her feet touching the cold stage for the first time.
She realized then that the power wasn't in the height of the heel, but in the soul of the person standing in them. She had walked a mile in her own shoes, and she had never stood taller.
In the middle of the bridge, a heel caught on a loose floorboard. The crowd gasped, a collective intake of breath that echoed through the rafters. Maya stumbled, her ankle buckling for a terrifying micro-second. But she didn't fall.
She stood up, the world shifting as she ascended into her six-foot-four persona. Her heels clicked against the hardwood—a sharp, percussive sound that felt like a heartbeat.
![[S2E10] In My Heels](https://www.italyformovies.com/app/img/elements/arrow-down.png){kind=icon}