The documentary concludes with some valuable advice from Rita Levi-Montalcini about how to live one's life. People who knew her offer some adjectives to describe who she was.

Vittorio De Sica did different kinds of movies, both as an actor, and a director, and had great success, although critics appreciated his comedies more than his serious movies. Whatever kind of film he was directing, he laughed and cried along with the actors. They loved him.

In her final years, Rita Levi-Montalci was very, very frail, but she never lost her combative spirit. Romano Prodi recalls the last time he saw her.

This documentary about the life of Vittorio De Sica, Italian actor and film director, is narrated by Marco Paolini. We begin during the occupation by the Nazis. Vittorio is in Rome shooting a film.

Not only did she win a Nobel prize; in her own country, she was appointed as a Senator for life, a great honor. But she took that job seriously and participated actively and with integrity. Not everyone appreciated that.

After winning the Nobel prize, Rita Levi-Montalcini was not as shy as she had been prior to that moment. Because she stood out as a woman in a "man's world," she was able to use her unique position to make her mark, not only in the science world, but in society.

Fulvio tells us plenty of interesting things about the history of one of the symbols of Rome, the Colosseum. To begin with, it wasn't always called the "Colosseum."

Rita Levi Montalcini doesn't feel like she made any sacrifices in her life, including not having a family. She had a clear vision of what she wanted out of life, and she followed it.

The formal, ceremonious aspect of the Nobel Prize awards was not what Rita Levi-Montalcini was used to, but she used that recognition to her advantage. Winning the Nobel Prize wasn't necessarily the high point in her career.

Because of the racial laws in Italy during the period of Fascism, many Jews left the country, including Rita Levi Montalcini. In Italy she wasn't allowed to work or publish papers, but somehow, she found a way to keep going.

As a child, Rita Levi Montalcini was shy and insecure. Her father wanted her to get married and have children, but she had other plans for her life. She also had a twin sister who was an artist.

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.

Rita Levi Montalcini dedicated a great part of her life to young people, especially young researchers, and though she had no children of her own, she felt that all kinds of young people were like sons and daughters to her.

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.