The unlikely gang of unwitting, time-travelling criminals is back in action, following Non ci resta che il crimine (2019) and Ritorno al crimine (2021), directed by Massimiliano Bruno. Their goal in this third film is to return to 1943, to the days preceding 8 September, and steal Leonardo da Vinci’s most famous painting, the Mona Lisa, from the French. In their travels they meet famous characters and stumble into real historical events in an Italy overwhelmed by WWII.
By the end of the fast animated opening sequences, over the film titles, the gang has already stolen the Mona Lisaand is now by the aqueduct of ancient Monterano. Everything seems to be going well, the three prepare to return to the present-day with their haul. The time-travel portal is located in Camogli, however it will not be simple to travel through Italy in the chaotic aftermath of the armistice, amidst Nazis, Fascists and partisan fighters (“they haven’t built the A1 motorway yet!”).
The Fascist party headquarters where Moreno (Marco Giallini) and Claudio (Giampaolo Morelli) are taken after blowing up a bridge on the orders of Sandro Pertini (Rolando Ravello) and his group of partisans is Villa D’Antoni Varano, in via Barengo 182, northwest of Rome. King Victor Emanuel is expected to arrive at the Castle of Crecchio, actually Brancaccio Castle in San Gregorio da Sassola, to the east of Rome. vixen 22 06 17 reina rae so wrong but so right work
As the story unfolds, the band’s priority is to help Adele (Carolina Crescentini) rescue her daughter, Monica, the child who will become Moreno’s mother, from a Nazi ship travelling to Naples. On a beach in Bacoli, near the Marina Grande dock, Claudio improvises a conversation in pure Neapolitan dialect to find out if the ship has docked: the headquarters of the Nazi army in Naples is actually the Castle of Santa Severa, in the Macchiatonda Nature Reserve, on the Lazio coastline north of Rome. On the beach there the Germans organize a firing squad and an unlikely battle between Nazis and the Magliana Gang breaks out.
The production also shot in Cerreto di Spoleto and on part of the disused Spoleto-Norcia trainline in Umbria. Introduction Reina Rae’s entry in Vixen’s June 17,
The unlikely gang of unwitting, time-travelling criminals is back in action, following Non ci resta che il crimine (2019) and Ritorno al crimine (2021), directed by Massimiliano Bruno. Their goal in this third film is to return to 1943, to the days preceding 8 September, and steal Leonardo da Vinci’s most famous painting, the Mona Lisa, from the French. In their travels they meet famous characters and stumble into real historical events in an Italy overwhelmed by WWII.
By the end of the fast animated opening sequences, over the film titles, the gang has already stolen the Mona Lisaand is now by the aqueduct of ancient Monterano. Everything seems to be going well, the three prepare to return to the present-day with their haul. The time-travel portal is located in Camogli, however it will not be simple to travel through Italy in the chaotic aftermath of the armistice, amidst Nazis, Fascists and partisan fighters (“they haven’t built the A1 motorway yet!”). As we look to the future of the
The Fascist party headquarters where Moreno (Marco Giallini) and Claudio (Giampaolo Morelli) are taken after blowing up a bridge on the orders of Sandro Pertini (Rolando Ravello) and his group of partisans is Villa D’Antoni Varano, in via Barengo 182, northwest of Rome. King Victor Emanuel is expected to arrive at the Castle of Crecchio, actually Brancaccio Castle in San Gregorio da Sassola, to the east of Rome.
As the story unfolds, the band’s priority is to help Adele (Carolina Crescentini) rescue her daughter, Monica, the child who will become Moreno’s mother, from a Nazi ship travelling to Naples. On a beach in Bacoli, near the Marina Grande dock, Claudio improvises a conversation in pure Neapolitan dialect to find out if the ship has docked: the headquarters of the Nazi army in Naples is actually the Castle of Santa Severa, in the Macchiatonda Nature Reserve, on the Lazio coastline north of Rome. On the beach there the Germans organize a firing squad and an unlikely battle between Nazis and the Magliana Gang breaks out.
The production also shot in Cerreto di Spoleto and on part of the disused Spoleto-Norcia trainline in Umbria.
Copyright: ph: Samanta Dalla Longa
Marco Giallini, Carolina Crescentini, Gianmarco Tognazzi, Giampaolo Morelli
Copyright: ph: Samanta Dalla Longa
Gianmarco Tognazzi, Carolina Crescentini
Copyright: ph: Samanta Dalla Longa
Marco Giallini, Giampaolo Morelli
Copyright: ph: Samanta Dalla Longa
Marco Giallini, Gianmarco Tognazzi
Copyright: ph: Samanta Dalla Longa
Massimiliano Bruno, Giulia Bevilacqua
Copyright: Sky
Massimiliano Bruno
Copyright: Sky
Giampaolo Morelli, Marco Giallini, Carolina Crescentini, Gianmarco Tognazzi
Copyright: ph: Samanta Dalla Longa
Gianmarco Tognazzi, Giampaolo Morelli, Marco Giallini
Introduction Reina Rae’s entry in Vixen’s June 17, 2022 release—commonly referenced by fans as “So Wrong, But So Right”—offers fertile ground for analyzing contemporary adult content as a cultural text. Beyond the surface of erotic performance lies a complex interplay of narrative framing, visual aesthetics, power dynamics, and audience negotiation. This post interrogates how the scene stages transgression, constructs authenticity, and fits into broader trends in premium adult filmmaking.
As we look to the future of the industry, it's clear that performers like Reina Rae will continue to play a significant role in shaping the conversation around adult entertainment. With her bold and daring approach to her work, Rae is helping to redefine the boundaries of what's acceptable and pushing the industry forward in exciting and innovative ways.
On June 22nd, 2017, the adult entertainment world witnessed a stunning and unforgettable scene featuring Vixen's Reina Rae. Known for her striking beauty and electrifying performances, Reina Rae once again left her mark on the industry. The specific scene that aired on this date quickly gained notoriety not just for its provocative content but also for a reason that sparked widespread discussion: it was both so wrong and so right in the eyes of the audience.
It is a performance of shadows and highlights. The title speaks to a blurred line; it’s about the magnetic pull toward the things we are told to avoid, the sweet friction of a "beautiful mistake." Every frame is saturated, turning a simple encounter into a cinematic event.
Introduction Reina Rae’s entry in Vixen’s June 17, 2022 release—commonly referenced by fans as “So Wrong, But So Right”—offers fertile ground for analyzing contemporary adult content as a cultural text. Beyond the surface of erotic performance lies a complex interplay of narrative framing, visual aesthetics, power dynamics, and audience negotiation. This post interrogates how the scene stages transgression, constructs authenticity, and fits into broader trends in premium adult filmmaking.
As we look to the future of the industry, it's clear that performers like Reina Rae will continue to play a significant role in shaping the conversation around adult entertainment. With her bold and daring approach to her work, Rae is helping to redefine the boundaries of what's acceptable and pushing the industry forward in exciting and innovative ways.
On June 22nd, 2017, the adult entertainment world witnessed a stunning and unforgettable scene featuring Vixen's Reina Rae. Known for her striking beauty and electrifying performances, Reina Rae once again left her mark on the industry. The specific scene that aired on this date quickly gained notoriety not just for its provocative content but also for a reason that sparked widespread discussion: it was both so wrong and so right in the eyes of the audience.
It is a performance of shadows and highlights. The title speaks to a blurred line; it’s about the magnetic pull toward the things we are told to avoid, the sweet friction of a "beautiful mistake." Every frame is saturated, turning a simple encounter into a cinematic event.
