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. In his magnum opus, A History of Russia,
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. By treating the steppe not as a highway
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!”). Human survival depended on mobile hunting bands
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
In his magnum opus, A History of Russia, Central Asia and Mongolia, Vol. 1: Inner Eurasia from Prehistory to the Mongol Empire , historian David Christian
This section covers the "nomadic encircling" of the ancient world.
David Christian’s A History of Russia, Central Asia, and Mongolia Vol 1: Inner Eurasia from Prehistory to the Mongol Empire is the definitive account of how the world’s largest land empire came into being. By treating the steppe not as a highway for invaders but as a homeland with its own civilizational logic, Christian gives us a new map of the past.
Before the Mongols, several "Shadow Empires" emerged that challenged the sedentary civilizations of the south.
The Pleistocene Crucible: During the last Ice Age, Inner Eurasia was a harsh tundra-steppe, home to mammoths and reindeer. Human survival depended on mobile hunting bands. Christian notes that these early Paleolithic societies established a pattern that would echo for millennia: low population density, high mobility, and a deep, spiritual relationship with the landscape.
This article explores the sweeping narrative of Volume 1, tracing the evolution of Inner Eurasia from the dawn of humanity to the explosive rise of the Mongol Empire. The Concept of Inner Eurasia
Volume 1 begins not with the Mongols or the Russians, but with the deep ecological and anthropological roots of the region.
Christian’s central, powerful distinction is between Inner Eurasia and Outer Eurasia.
In his magnum opus, A History of Russia, Central Asia and Mongolia, Vol. 1: Inner Eurasia from Prehistory to the Mongol Empire , historian David Christian
This section covers the "nomadic encircling" of the ancient world.
David Christian’s A History of Russia, Central Asia, and Mongolia Vol 1: Inner Eurasia from Prehistory to the Mongol Empire is the definitive account of how the world’s largest land empire came into being. By treating the steppe not as a highway for invaders but as a homeland with its own civilizational logic, Christian gives us a new map of the past.
Before the Mongols, several "Shadow Empires" emerged that challenged the sedentary civilizations of the south.
The Pleistocene Crucible: During the last Ice Age, Inner Eurasia was a harsh tundra-steppe, home to mammoths and reindeer. Human survival depended on mobile hunting bands. Christian notes that these early Paleolithic societies established a pattern that would echo for millennia: low population density, high mobility, and a deep, spiritual relationship with the landscape.
This article explores the sweeping narrative of Volume 1, tracing the evolution of Inner Eurasia from the dawn of humanity to the explosive rise of the Mongol Empire. The Concept of Inner Eurasia
Volume 1 begins not with the Mongols or the Russians, but with the deep ecological and anthropological roots of the region.
Christian’s central, powerful distinction is between Inner Eurasia and Outer Eurasia.
