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. estudiantes autodesk
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. In the digital age, the line between theoretical
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. Some educators worry that students may focus so
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
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.
In the digital age, the line between theoretical knowledge and practical application has become increasingly blurred. For students in architecture, engineering, and digital arts, mastering industry-standard software is no longer optional—it is a prerequisite for professional success. At the forefront of this educational revolution stands Autodesk. Through its comprehensive educational access program, the concept of "estudiantes Autodesk" has emerged, defining a generation of learners who are not just consuming information but actively designing the future. By democratizing access to powerful tools like AutoCAD, Revit, Maya, and Fusion 360, Autodesk empowers students to bridge the gap between classroom theory and real-world problem-solving.
However, it is important to acknowledge a potential pitfall: the risk of tool dependency. Some educators worry that students may focus so heavily on mastering the software’s interface that they neglect fundamental principles, such as hand-sketching, material properties, or basic arithmetic. A brilliant CAD model is useless if it is structurally impossible. Thus, the ideal "estudiante Autodesk" uses the software as a supplement, not a substitute, for core engineering and artistic judgment. When balanced with traditional theory, the software becomes a superpower.
Furthermore, the pedagogical benefits of using Autodesk software extend beyond mere technical proficiency. The suite encourages a design-thinking mindset rooted in iteration and systems analysis. When a student uses Revit for Building Information Modeling (BIM), they are not just drawing lines; they are learning how a change in a window’s placement affects the building’s energy efficiency and structural load. When using Fusion 360, they learn the iterative process of computer-aided design (CAD) and computer-aided manufacturing (CAM), from sketching to rendering to simulating stress tests. Consequently, the "estudiante Autodesk" learns to view problems holistically, understanding that in both design and engineering, every action has a cascading consequence. This cognitive skill—complex problem-solving—is arguably more valuable than the software syntax itself.
In the digital age, the line between theoretical knowledge and practical application has become increasingly blurred. For students in architecture, engineering, and digital arts, mastering industry-standard software is no longer optional—it is a prerequisite for professional success. At the forefront of this educational revolution stands Autodesk. Through its comprehensive educational access program, the concept of "estudiantes Autodesk" has emerged, defining a generation of learners who are not just consuming information but actively designing the future. By democratizing access to powerful tools like AutoCAD, Revit, Maya, and Fusion 360, Autodesk empowers students to bridge the gap between classroom theory and real-world problem-solving.
However, it is important to acknowledge a potential pitfall: the risk of tool dependency. Some educators worry that students may focus so heavily on mastering the software’s interface that they neglect fundamental principles, such as hand-sketching, material properties, or basic arithmetic. A brilliant CAD model is useless if it is structurally impossible. Thus, the ideal "estudiante Autodesk" uses the software as a supplement, not a substitute, for core engineering and artistic judgment. When balanced with traditional theory, the software becomes a superpower.
Furthermore, the pedagogical benefits of using Autodesk software extend beyond mere technical proficiency. The suite encourages a design-thinking mindset rooted in iteration and systems analysis. When a student uses Revit for Building Information Modeling (BIM), they are not just drawing lines; they are learning how a change in a window’s placement affects the building’s energy efficiency and structural load. When using Fusion 360, they learn the iterative process of computer-aided design (CAD) and computer-aided manufacturing (CAM), from sketching to rendering to simulating stress tests. Consequently, the "estudiante Autodesk" learns to view problems holistically, understanding that in both design and engineering, every action has a cascading consequence. This cognitive skill—complex problem-solving—is arguably more valuable than the software syntax itself.
