Scandalo in sala narrates Italy as a very different country from that of present times: a country in which cinema was “the most powerful medium “, a cultural industry for a long time second in the world after Hollywood and first in Europe, a means that could deeply influence with its stories on the taste and the unconscious of a whole country. A cinema which represented for Institutional power something insidious, which could disturb and mobilize the common morality, to put into question its certainties and make an attempt to its “normality”. Italian cinema from Forties to Seventies produced extraordinary movies which debunked totems and taboos of common sense, embodying desires and utopias, and making scandal. From Monicelli’s “Totò e Carolina” to Fellini’s “La dolce vita” to “Salò o le 120 giornate di Sodoma” by Pasolini, and also Bellocchio’s “I Pugni in tasca” , Bertolucci’s “Ultimo tango a Parigi” di Bertolucci and Petri’s “Todo Modo”, Scandalo in sala describes the perennial conflict between Italian cinema, religious and institutional power and public opinion, with narrations and memories by authors such as Marco Bellocchio, Bernardo Bertolucci, Nanni Moretti, Wilma Labate, Marco Tullio Giordana, Vittorio Taviani and Francesca De Sapio, and the critical analysis by Alberto Crespi and Monsignor Dario E. Viganò.