The unlikely gang of unwitting, time-travelling criminals is back in action, following Non ci resta che il crimine (2019) and Ritorno al crimine (2021), directed by Massimiliano Bruno. Their goal in this third film is to return to 1943, to the days preceding 8 September, and steal Leonardo da Vinci’s most famous painting, the Mona Lisa, from the French. In their travels they meet famous characters and stumble into real historical events in an Italy overwhelmed by WWII.
By the end of the fast animated opening sequences, over the film titles, the gang has already stolen the Mona Lisaand is now by the aqueduct of ancient Monterano. Everything seems to be going well, the three prepare to return to the present-day with their haul. The time-travel portal is located in Camogli, however it will not be simple to travel through Italy in the chaotic aftermath of the armistice, amidst Nazis, Fascists and partisan fighters (“they haven’t built the A1 motorway yet!”).
The Fascist party headquarters where Moreno (Marco Giallini) and Claudio (Giampaolo Morelli) are taken after blowing up a bridge on the orders of Sandro Pertini (Rolando Ravello) and his group of partisans is Villa D’Antoni Varano, in via Barengo 182, northwest of Rome. King Victor Emanuel is expected to arrive at the Castle of Crecchio, actually Brancaccio Castle in San Gregorio da Sassola, to the east of Rome. Manisha Koirala Pussy Image
As the story unfolds, the band’s priority is to help Adele (Carolina Crescentini) rescue her daughter, Monica, the child who will become Moreno’s mother, from a Nazi ship travelling to Naples. On a beach in Bacoli, near the Marina Grande dock, Claudio improvises a conversation in pure Neapolitan dialect to find out if the ship has docked: the headquarters of the Nazi army in Naples is actually the Castle of Santa Severa, in the Macchiatonda Nature Reserve, on the Lazio coastline north of Rome. On the beach there the Germans organize a firing squad and an unlikely battle between Nazis and the Magliana Gang breaks out.
The production also shot in Cerreto di Spoleto and on part of the disused Spoleto-Norcia trainline in Umbria. She wasn't just a glamorous face; she was
The unlikely gang of unwitting, time-travelling criminals is back in action, following Non ci resta che il crimine (2019) and Ritorno al crimine (2021), directed by Massimiliano Bruno. Their goal in this third film is to return to 1943, to the days preceding 8 September, and steal Leonardo da Vinci’s most famous painting, the Mona Lisa, from the French. In their travels they meet famous characters and stumble into real historical events in an Italy overwhelmed by WWII.
By the end of the fast animated opening sequences, over the film titles, the gang has already stolen the Mona Lisaand is now by the aqueduct of ancient Monterano. Everything seems to be going well, the three prepare to return to the present-day with their haul. The time-travel portal is located in Camogli, however it will not be simple to travel through Italy in the chaotic aftermath of the armistice, amidst Nazis, Fascists and partisan fighters (“they haven’t built the A1 motorway yet!”). In Sanjay Leela Bhansali’s Khamoshi: The Musical ,
The Fascist party headquarters where Moreno (Marco Giallini) and Claudio (Giampaolo Morelli) are taken after blowing up a bridge on the orders of Sandro Pertini (Rolando Ravello) and his group of partisans is Villa D’Antoni Varano, in via Barengo 182, northwest of Rome. King Victor Emanuel is expected to arrive at the Castle of Crecchio, actually Brancaccio Castle in San Gregorio da Sassola, to the east of Rome.
As the story unfolds, the band’s priority is to help Adele (Carolina Crescentini) rescue her daughter, Monica, the child who will become Moreno’s mother, from a Nazi ship travelling to Naples. On a beach in Bacoli, near the Marina Grande dock, Claudio improvises a conversation in pure Neapolitan dialect to find out if the ship has docked: the headquarters of the Nazi army in Naples is actually the Castle of Santa Severa, in the Macchiatonda Nature Reserve, on the Lazio coastline north of Rome. On the beach there the Germans organize a firing squad and an unlikely battle between Nazis and the Magliana Gang breaks out.
The production also shot in Cerreto di Spoleto and on part of the disused Spoleto-Norcia trainline in Umbria.
Copyright: ph: Samanta Dalla Longa
Marco Giallini, Carolina Crescentini, Gianmarco Tognazzi, Giampaolo Morelli
Copyright: ph: Samanta Dalla Longa
Gianmarco Tognazzi, Carolina Crescentini
Copyright: ph: Samanta Dalla Longa
Marco Giallini, Giampaolo Morelli
Copyright: ph: Samanta Dalla Longa
Marco Giallini, Gianmarco Tognazzi
Copyright: ph: Samanta Dalla Longa
Massimiliano Bruno, Giulia Bevilacqua
Copyright: Sky
Massimiliano Bruno
Copyright: Sky
Giampaolo Morelli, Marco Giallini, Carolina Crescentini, Gianmarco Tognazzi
Copyright: ph: Samanta Dalla Longa
Gianmarco Tognazzi, Giampaolo Morelli, Marco Giallini
Manisha Koirala’s entry into the entertainment industry was nothing short of cinematic. Hailing from a politically prominent family in Nepal, she chose the arc lights over politics. Her debut in Saudagar (1991) was grand, but it was the mid-90s that cemented her status as a cinematic icon.
She wasn't just a glamorous face; she was the muse for some of India’s most celebrated directors. In Mani Ratnam’s Dil Se.., she delivered a performance that was intense, vulnerable, and hauntingly beautiful. In Sanjay Leela Bhansali’s Khamoshi: The Musical, she proved her mettle as a dramatic powerhouse. Unlike many of her contemporaries who relied heavily on glamour, Manisha balanced commercial potboilers like Agnisakshi and Gupt with hard-hitting parallel cinema like Bombay and 1942: A Love Story.
Her image during this era was that of the "thinking person’s star"—ethereal yet grounded. After a brief hiatus and personal struggles, her second innings in the entertainment industry has been arguably more impactful. With projects like Lust Stories and the much-anticipated Heeramandi, Manisha has shattered the ageist barriers of the industry, taking on complex, mature roles that explore the female psyche rather than just the romantic lead.
While many 90s actresses shied away from aging on screen, Manisha embraced it with grace. Her role in the Netflix series Maska and the critically acclaimed web series The Broken News showcased her as a mature, formidable matriarch and journalist. She proved that in the new era of digital entertainment, age is just a number; talent is currency.
In the annals of Indian cinema, few stars have shone as brightly and enduringly as Manisha Koirala. A name that became synonymous with natural beauty and powerhouse performances in the 90s, she has evolved into a symbol of resilience and reinvention in the modern era. Her journey from a blockbuster queen to a cancer survivor, and now to a nuanced character actor, paints the picture of a woman who has embraced life’s highs and lows with unparalleled grace.
In 2012, Manisha was diagnosed with stage 4 ovarian cancer. The treatment led to hair loss, weight fluctuations, and scars. Instead of hiding, she shaved her head on camera and let the world see her vulnerability. Today, her image is defined by short, silver-streaked hair (often natural), a leaner physique, and a face etched with experience. She is not trying to look 25; she is enjoying looking 50+.
Manisha Koirala’s entry into the entertainment industry was nothing short of cinematic. Hailing from a politically prominent family in Nepal, she chose the arc lights over politics. Her debut in Saudagar (1991) was grand, but it was the mid-90s that cemented her status as a cinematic icon.
She wasn't just a glamorous face; she was the muse for some of India’s most celebrated directors. In Mani Ratnam’s Dil Se.., she delivered a performance that was intense, vulnerable, and hauntingly beautiful. In Sanjay Leela Bhansali’s Khamoshi: The Musical, she proved her mettle as a dramatic powerhouse. Unlike many of her contemporaries who relied heavily on glamour, Manisha balanced commercial potboilers like Agnisakshi and Gupt with hard-hitting parallel cinema like Bombay and 1942: A Love Story.
Her image during this era was that of the "thinking person’s star"—ethereal yet grounded. After a brief hiatus and personal struggles, her second innings in the entertainment industry has been arguably more impactful. With projects like Lust Stories and the much-anticipated Heeramandi, Manisha has shattered the ageist barriers of the industry, taking on complex, mature roles that explore the female psyche rather than just the romantic lead.
While many 90s actresses shied away from aging on screen, Manisha embraced it with grace. Her role in the Netflix series Maska and the critically acclaimed web series The Broken News showcased her as a mature, formidable matriarch and journalist. She proved that in the new era of digital entertainment, age is just a number; talent is currency.
In the annals of Indian cinema, few stars have shone as brightly and enduringly as Manisha Koirala. A name that became synonymous with natural beauty and powerhouse performances in the 90s, she has evolved into a symbol of resilience and reinvention in the modern era. Her journey from a blockbuster queen to a cancer survivor, and now to a nuanced character actor, paints the picture of a woman who has embraced life’s highs and lows with unparalleled grace.
In 2012, Manisha was diagnosed with stage 4 ovarian cancer. The treatment led to hair loss, weight fluctuations, and scars. Instead of hiding, she shaved her head on camera and let the world see her vulnerability. Today, her image is defined by short, silver-streaked hair (often natural), a leaner physique, and a face etched with experience. She is not trying to look 25; she is enjoying looking 50+.
