The panorama of human affairs encounters the “man with a movie camera”. His playground has no boundaries, his curiosity no limits. Characters, situations and places pitch camp in the life of a humanity that is at once the viewer and the thing viewed. But what are the last days of this humanity? Have they already passed? Are they now or still to come?

Video registration of Carmelo Bene's play 'Lorenzaccio, al di là di de Musset e Benedetto Varchi', performed in Florence in 1986.

Produced by RAI and filmed in the Turin studios in 1979 but edited years later, in 2001-2002, this is the staging for TV of Carmelo Bene's play of the same name. One of his last works, it premiered in 2002, on March 18, immediately after his death, at the Teatro Argentina in Rome.

On the occasion of the bicentenary of the birth, Carmelo Bene returns to the verses of the poet from Recanati. In this film the most beautiful poems by Giacomo Leopardi (La Ginestra, Il Canto Notturno, Le Ricordanze, A Silvia, L'Infinito ...), but also some passages from the Moral Operettas, as well as the unfinished Project for a hymn at Ahrimane, follow one another with deep and moving simplicity, with a quiet immediacy that causes the void of every other voice: therefore the listenere is ensnared in the pauses, bewitched by the unexpected descents of silence. The voice assumes a dark and ancestral tone in which the words seem to find their original nuances.

Macbeth, the Thane of Glamis, receives a prophecy from a trio of witches that one day he will become King of Scotland. Consumed by ambition and spurred to action by his wife, Macbeth murders his king and takes the throne for himself.

One of the last TV performances by Carmelo Bene, from Publio Papinio Stazio and Henrich Von Kleist, mixing the myth of the amazon Pentesilea with the invulnerability of the greek hero Achilles. Bene performs alone in a stage filled with mannequins, acting in playback.

A visit to the Rotoli cemetery in Palermo, while film director Carmelo Bene reads a fragment of Antonio Pizzuto's book "Signorina Rosina".

Rome, December 12th - 15th 1990.

A TV movie variation on Shakespeare's Hamlet. The movie is a part of Carmelo Bene's multi-medial project on Hamlet, also including the theatrical movie "Un Amleto di meno", a stage drama and the experimental video "Amleto di Carmelo Bene (Da Shakespeare a Laforgue).

Drama by Lord George Byron, music by Robert Schumann. Filmed at Teatro Comunale di Bologna, 1979.

Carmelo Bene reads poems by Dino Campana

Riccardo III (da Shakespeare) secondo Carmelo Bene

Realized in 1980 for Rai 2, it recalls the main phases in the life of Giorgio Colli.

An experimental video variation on Shakespeare's Hamlet.

Performance shot in 1977, in which emblematic actor Carmelo Bene, in the charming reconstruction of the ruins of a theater on fire accompanied by the disturbing notes of Vittorio Gelmetti, reads four poems of the Twentieth Century russian poets Vladimir Majakovskij, Boris Pasternak, Aleksandr Blok and Sergej Esènin.

The "Hamlet" in this well-mounted Italian spoof is the Danish prince, not a small town or village. The movie irreverently draws on both the Shakespeare play and the 1877 story by Jules Laforgue. In the story, Hamlet (Carmelo Bene) is a would-be playwright. He suffers from inept Freudian analysis by Polonius (Pippo Tuminelli), and Ophelia and Gertrude (Isabella Russo & Luciana Cante) are women conjured up in his erotic imagination.

Adapted from the ninth chapter of the novel "Controcorrente" (1884) by Joris Karl Huysmans. Its narrative concentrates almost entirely on its principal character and is mostly a catalogue of the tastes and inner life of Jean des Esseintes, an eccentric, reclusive aesthete and antihero who loathes 19th-century bourgeois society and tries to retreat into an ideal artistic world of his own creation.

Salome is the daughter of the second wife of King Herod. The King is infatuated with her and, after she fails to seduce the prophet John The Baptist, she dances for the King in order to ask for his execution.

A few days after the arrival of the year 1000, bearer of great misfortune according to the Prophets, the cavalryman Fortunato and two soldiers, Pannocchia and Carestia, travel through Italy in the midst of numerous adventures: The prophetic year is marked only by the discovery on the part of the cavalryman of his wife's betrayal

A surreal and disturbing distillation of Western Civilization, Necropolis is the unhinged vision of Italian director Franco Brocani. Pierre Clémenti is Attila the Hun, naked and on horseback, while Warhol superstar Viva is a drunken and abusive Countess Bathory. A pop pastiche for the psychedelic generation, Necropolis features a soundtrack by Gavin Bryars.

Spectacular Italian comedy-drama directed by Carmelo Bene. The narrative follows how Don Giovanni tries to seduce a young woman who is manically searching for Christian icons. The film is loosely based on Jules Barbey d'Aurevilly's short story "The Greatest Love of Don Juan", from the collection Les Diaboliques. The film premiered in the Directors' Fortnight section of the Cannes Film Festival.

Frank was removed from an investigation into Mac Brown, the owner of a pharmaceutical company, who was suspected of drug trafficking and illegal experiments on teenagers. When Brown is murdered, Frank is called to investigate...

After a fight in their apartment, the story of a writer and a painter are divided. The writer is dedicated with his partner Manon to provoke continuous accidents in a field in which car carcasses abound. The painter is recruited to kill, through a poisoned picture, the old Arden to allow the latter's wife, Alice to live with her lover Mosbie.

Artists and poets meet in a dreamlike space between walks and performances.

A man (Carmelo Bene) can not bear to be part of society. He considers himself a "jerk" and so invents its own philosophy, which involves the destruction of his land of Puglia where all citizens are devoted to the Catholic religion. However, the man can not destroy the belief of the pilgrims of Salento, because a woman would prevent that. It is an unknown "Santa Margherita", which tries to divert man from his weird and impossible philosophy. Successive scenes of the film show various situations unreal and dream in which the two protagonists try to obtain the best one on the other. After a blasphemous dialogue between monks, the man includes his whole philosophy in a Moorish building. In fact, this seems to have been the scene of the massacre of the famous 800 Martyrs of Otranto, which are considered by the scetic man the absolute death of Christianity.

Hermitage, defined by Bene as "a rehearsal for lenses", beyond any literal rendition - its narrative trace comes from one of his anti-novels, Credito Italiano V.E.R.D.I - displays his immediate attitude to thinking a cinematic language completely based on actor's movements and actions, and more specifically, on his presence and his schemes. Camouflaged or naked, still or moving, his body seems to play and be played at the same time, shifted by objective and subjective tensions, both metaphorically and visually speaking.

Bob is a successful actor, but his career gets doomed by a strange phenomenon: the animal kingdom is taking on him!

In pre-war Italy, a young couple have a baby boy. The father, however, is jealous of his son - and the scene moves to antiquity, where the baby is taken into the desert to be killed. He is rescued, given the name Edipo (Oedipus), and brought up by the King and Queen of Corinth as their son. One day an oracle informs Edipo that he is destined to kill his father and marry his mother. Horrified, he flees Corinth and his supposed parents - only to get into a fight and kill an older man on the road…

Carmelo Bene read a text by T. S. Eliot

In 1966, Bene presented The Pink and the Black, his successful theatrical adaptation of Matthew Gregory Lewis’ lurid Gothic novel from 1796. Experimental filmmaker Paolo Brunatto filmed some of the play’s rehearsals in a Rome apartment (also frequented also by the Living Theatre). Bene's artistry is encapsulated in one sentence: “One cannot continue to prostitute the idea of theatre, which stands only for a magical, brutal link with reality."

Backstage short documentary on Carmelo Bene’s theatre works Amleto and Pinocchio.