Turin. Tired of the overwhelming power of the Italian mafia clans and their French allies – who perpetrates robberies and trafficks in underage prostitutes – Commissioner Moretti decides to take justice for himself in the shoes of a mysterious killer. The scientific killing of every Mafia affiliate pushes clans to launch an investigation and at the same time an internal war, but Moretti's plan will be exposed by his colleague Danieli, a staunch defender of legality.
(Messina 1938-Turin 2020), film director and cinematographer, was an original figure in Italian popular cinema. Present as an extra on the set of Monicelli's The Organizer (1963), he began working as a set designer and operator, also becoming the help of the famous cinematographer Peppino Rotunno. He made his directorial debut in 1969 with L'ora della pietà and found an unexpected success in 1977 with Torino violenta, a noir filmed in economics that became a great success at home and abroad. Active in Rai as an operator for tv news and other broadcast and in the advertising, as a filmmaker he has always worked with modest budgets, crossing different genres with inventiveness: from noir itself (Tony, l’altra faccia di Torino violenta, 1980; Killer’s Playlist, 2006), to science-fiction (La città dell’ultima paura, 1975; Prima che il sole tramonti, 1976), to horror (La villa delle anime maledette, 1982; Nebuneff, 1988).
L'ora della pietà (1969), La città dell'ultima paura (1975), Prima che il sole tramonti (1976), Torino violenta (1977), Tony, l'altra faccia della Torino violenta (1980), La villa delle anime maledette (1982), Nebuneff (1988), Senza scrupoli 2 (1990), Racconto di natale (cm, 1997), Una favola moderna (cm, 2001), The Trailer (cm, 2002), Killer's Playlist (2006).
"Torino violentawas miraculous, even because I didn't believe it. It was too easy to make such a film. I put together four articles in the newspaper and invented the figure of the executioner, precisely because I did not believe the film was something serious. I said to myself: 'For the worst of it, I'll change its title and call it in another way – now I don't remember how.' I remember that I used to go around putting up posters in bars! And this was the starting point for some journalists, I don't remember who, who wrote: 'If you meet someone who is putting up the posters of Torino violenta, ask him for his autograph because he is the director.'"