Valentina's success coincided with the beginnings of feminist movements in Italy. She depicted a woman who was strong and independent, who could do anything a man could do, a departure from the stereotype of the Italian housewife.

Crepax's Valentina was an intriguing character because she openly reflected the sexual freedom of the late sixties and was attractive to both men and women. It was very "in" to be seen walking around with an issue of "Linus," an Italian comics magazine published in Italy beginning in 1965.

Filmmakers Tinto Brass and Giuseppe Tornatore comment on how some elements of expressivity are shared between comic strips and the cinema.

In 1963 Crepax got his start in the world of comic books and two years later created his famous character, Valentina. The comic strip first appeared in the anthology comic book, "linus," founded by Giovanni Gandini, who had known Crepax as a kid.

Crepax started out with one protagonist, Philip Rembrandt, but gradually phased him out, along with his superpowers. Valentina then took over as the protagonist. Crepax talks about Milan in the sixties.

This documentary is about Guido Crepax, the creator of a famous fumetto (comic strip) that came out in 1965. The main characters are Philip Rembrandt, an art critic, and Valentina Rosselli, a photojournalist.

If two important works of Piero's survived the bombings during World War II, it was due to the efforts of art historians and restorers such as Ugo Procacci. In addition to the Resurrection, a wonderful painting of the Virgin Mary as she was expecting a child, "La Madonna del Parto" was saved and is now housed in the museum in Monterchi, Arezzo.

We learn more about how and why Piero's Resurrection was moved from its original position. It's fascinating.

We learn some more about the origins of Piero's Resurrection and why it might have been commissioned. As with other works of art, the Resurrection likely had political symbolism as well as religious symbolism.

As a result of historical research and restoration, it was discovered that the Resurrection had not been painted on the wall on which we now see it, but had been transported from another location, likely the external facade of the building, under the arengario of Borgo Sansepolcro.

Had the Resurrection always been in the same spot or had it been moved? We are taken through the questions journalists and historians have to ask: where, when, and why. A researcher, after much research, finally found the answer.

We take a look at the details of Piero's Resurrezione, details we might not notice by looking at the painting as a whole. Why is Christ not dressed in white? Is there something special about the countryside in the background? The answers are fascinating.

Retouching the painting is a very delicate job, and is done in such a way as to be reversible, and respectful to the original.

With techniques available today, it is possible to distinguish the various layers of plaster used on different days of work, to determine in what order the artists and their assistants applied the paint. And during the cleaning, details can come out that were previously not visible, including buildings and even letters of the alphabet.

For art historians, it is so interesting to try to figure out, with the materials at hand, what Piero wanted his work to finally look like, but it's a challenge, as the artist's initial sketches have been lost.