Il mostro

A new Netflix series has just been released - The Monster of Florence. It's based on real events that took place between 1978 and 1985 near the city of Florence, in its suburbs. This is already the third major series in recent months exploring serial killings - after the ones about Ed Gein and John Wayne Gacy. But this one is very different.

While American true-crime shows usually follow a familiar pattern - a troubled childhood, a drunk father, a fanatically religious mother using faith as control - The Monster of Florence goes in the opposite direction.

There's no typical "killer vs. Victim" formula here. Instead, it's a deep, almost philosophical story about post-war Italy - about a society that was closed, judgmental, and constrained by Catholicism and social dogmas.

For me, it was quite an eye-opener. I didn't even know that until 1970, divorce was illegal in Italy. A man who left his wife and children for another woman could lose not only his reputation but his freedom. The series captures this cultural reality - a world where personal freedom was suppressed by religion and fear of public shame.

In its tone and atmosphere, the series feels like an old Italian drama, where the focus is not on the killer but on the spirit of the time - how people lived, what they feared, and how they hid their desires and guilt. It's psychological and spiritual cinema, not horror or crime for shock value.

Honestly, I was pleasantly surprised. At first, I expected a typical American-style thriller, but it turned out to be something much deeper. The pacing is slow and deliberate, the visuals stunning, with beautiful cinematography and an authentic sense of Tuscany's outskirts.

I really don't understand why the ratings are so low - perhaps viewers expected more blood and suspense, but instead got a thoughtful exploration of morality, guilt, and repressed sexuality in Catholic society.

⭐ My rating: 8/10.

Not for those seeking fast-paced action - but definitely for anyone who appreciates psychological drama and European cinema with historical depth.

This crime thriller is based on true events. After long time finally a solid psycho murder episode from Italy on Netflix. I find it is actually on short supply to see good series or movies from Italy on Netflix. The first episode was for me too slow paced and I thought already to stop. But the longer I watched it the more interesting the story got. There are many flashbacks to reconstruct the mystery puzzles and help so the audience to understand what was really going on. The atmosphere and filming locations have been wonderfully created from the 60ties to the 80ties. The actors played the characters respectably and I think the director did a great job too. If you liked the other two psycho killer series on Netflix Jeffrey Dahmer or Ed Gein this is for you. Final vote: 7/10.

Very well acted. It is surprising. It makes you think. Who has done it? Great sites and surroundings. All those cars of the 70's and 80's. So nice. Yep, the movie is a bit dark. It is a dark story. Very Italian, what I like a lot. And now I still hsve to write 70 characters. I would like ifdutch actors could play like the profs in this movie!! They cant....

Not that great either!

I agree a lot more could have been brought out to the viewer.

Yet, it was interesting as I have not read the book or knew about such a case.

I guess they tried. Just is not as exciting as I had expected. I think I'll buy the book. Maybe help fact from overthinking drama series.

Making a miniseries about a serial killer always has potential, but here the result doesn't quite deliver. The Monster of Florence aims to be an elegant, atmospheric true crime story -slow, reflective, and serious- but it ends up being too slow for its own good. Instead of building tension, it drains it. There's no clear main character or strong narrative thread to pull the viewer in, and the story feels scattered and unfocused.

Stefano Sollima tries to add depth through fragmented storytelling, jumping back and forth in time and showing events from different perspectives. It's an interesting idea, but confusion wins over intrigue. At times, it feels more like an exercise in style than a compelling story.

The best part lies in the atmosphere -that unsettling Tuscan landscape, the impeccable cinematography, and the ever-present sense of quiet danger. There's talent behind the camera, but also a lack of rhythm and emotional grip.

It's not a failure, but definitely a missed opportunity. If you're looking for a human, grounded take on the case without sensationalism, you might find something here. But if you expect a gripping, addictive thriller, you'll likely tune out before the end.