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Recognizing the futility of one's efforts, the impossibility and inability to achieve one's goals, ultimately giving up the fight. The film unfolds a series of emotional failures, unstable relationships incapable of satisfying one's selfish need for affection, and ultimately finding oneself as an adult, frustrated, and melancholic.

Two college roommates have their first sexual experiences when shy Sandy (Art Garfunkel) manages to date the beautiful Susan (Candice Bergen). The brash Jonathan (Jack Nicholson), jealous of his friend, cheats on him, becoming involved himself, until Susan, tormented by guilt, decides to end the relationship with Jonathan. A few years later, Susan and Sandy are married, and Jonathan begins dating the turbulent Bobbie (Ann-Margret), but this relationship, too, soon comes to a standstill. Time continues to pass, and Jonathan, disheartened by so many empty relationships, has no choice but to pay prostitute Louise (Rita Morena) to maintain his sexual drive.

Director Mike Nichols dismantles narrative continuity, dividing the film into different periods of life, punctuated by sentimental milestones in the form of anecdotes; Jules Feiffer's screenplay portrays a generation struggling, incapable of stable relationships, debunking the myth of sexual freedom transformed into consumerism; in the cast everyone is excellent, especially the four leads.

Best moments: Jack Nicholson, Ann-Margret, a messy room, and their relationship reaching its end... wow! A must-see for lovers of dark comedy and those who have no problem discussing relationship addiction.

The inability to communicate, to establish a living and sincere relationship with someone, for fear of making mistakes or revealing too much of one's most intimate feelings. The journey becomes a journey of awareness of the importance of the other person in our lives, an awareness that matures slowly, until it suddenly explodes like a volcano.

A British couple is in Naples to negotiate the sale of an inherited house. Both tired of a frayed relationship riddled with misunderstandings, they decide to use the trip differently. The romantic Katherine Joyce (Ingrid Bergman) immerses herself deeply in Neapolitan culture, visiting museums and delving into traditions, while Alexander Joyce (George Sanders), more dynamic and extroverted, travels to Capri to enjoy the good life, together with his friends Marie (Maria Mauban) and Paul (Paul Miller). Returning to Naples, he meets a prostitute (Anna Proclemer) who helps him make an important decision.

Director Roberto Rossellini uses a fragmented and episodic narrative, emphasizing the intrinsic meaning of actions, making them more important than the raw action itself; the screenplay focuses on the emotional fragility of marriage, its slow disintegration and potential rebirth; the main protagonist is undoubtedly Naples and its treasures, which transform into a perceptive experience for the two protagonists, constantly searching for themselves.

The film's best moment, in my opinion, is the visit to the Museum of Ancient Art, where the protagonist confronts millennia of history. A must-see for lovers of Naples and those who appreciate introspective drama.

It is the desire for power, honor, and grandeur, driven by boundless vanity. The protagonist is consumed by it, revealing it in its crudest and most ruthless form, heightened by the gothic and spectral atmosphere conceived by William Shakespeare.

The valiant lord of Glamis, Lord Macbeth (Jon Finch), while returning to his castle accompanied by the nobleman Banquo (Martin Shaw), is foretold by three hags that a crown will encircle his head, but only temporarily because he has no children. Together with his wife, Lady Macbeth (Francesca Annis), he plots King Duncan's death. After finding the king dead, the royal attendant Macduff (Terence Bayler), the valiant Ross (John Stride), and the other nobles gather to decide the succession.

Director Roman Polanski, devastated by the recent massacre of his wife, allows himself to be drawn into an extremely pessimistic and bloody vision of Shakespeare's tragedy; the screenplay modifies the original work, reducing dialogue and replacing it with effective images lacking the necessary insight; the cast gives an excellent performance, although Francesca Annis's role is perhaps slightly understated and lacks the necessary viral impact.

The film's best and most emotionally charged scene is the tragic death of a child cradled in its mother's lap; it's impossible not to compare it to Sharon Tate's death. A must-see for lovers of dark cinema and bloody tragedies, but certainly not for orthodox fans of the Stratford-upon-Avon writer.