Tea Time Film

In ancient Rome, bathhouse architect Lucius (Hiroshi Abe) becomes famous with designing the original "thermae" (bathhouse). He receives an order to build a thermae in the colosseum to help gladiators recover from their wounds, but faces difficulties. Thus, Lucius travels again to modern day Japan through the time slip. He meets Manami (Aya Ueto) again, who is now a reporter for a magazine which covers bathroom. With the help of the flat face Japanese tribe, Lucius again designs a new thermae. Meanwhile, Emperor Hadrian (Masachika Ichimura) wants to keep the peace with the thermae, but the Senate wants to extend the land by using force. Emperor Hadrian and the Senate now have a confrontation and Rome becomes divided.

A celebrity journalist, juggling her busy career and personal life, has her life over-turned by a freak car accident.

In an alternate present, Paolo's job is to anonymously counsel the employees of his company. He's the best in what he does, but an employee's suicide attempt might call into question his life as he knows it.

At Disperata, a small town in Southern Italy, the melancholy mayor Filippo Pisanelli feels terribly unfit for his role. Only a love of poetry and his passion for the literature lessons he gives to prison inmates admit a chink of light into his general state of depression. In jail he meets Pati, a small-time criminal from his own town. Pati and his brother Angiolino were dreaming of becoming the mafia bosses of Capo di Leuca, but the encounter with art changes everything and an unusual friendship between the three men will lead them to make courageous choices.

The unbridled life and kaleidoscopic filmography of Piero Vivarelli, who made Italian B-movies of all genres, wrote hit rock songs and penned the screenplay for Sergio Corbucci's Western "Django," adored by Quentin Tarantino, are intertwined in a portrait of an unsung postwar provocateur and revolutionary (the only non-Cuban besides Che Guevara to be given a Cuban Communist Party card signed by Fidel Castro). The creative doc is also a prism into an unexplored territory of Italian — and by extension global — pop culture and its unique vitality.