The Taviani brothers reveal some tricks used during the filming of The Night of San Lorenzo and tell us how they managed to combine a particular sequence of the film with the cornerstone of Greek literature, The Iliad.

It's not often that two people, let alone brothers, can work together in perfect harmony. But artists who have worked with the Taviani brothers say they came very close. Paolo and Vittoio knew what they wanted and they knew how they wanted to obtain it, down to the letter.

This is the final installment of the documentary dedicated to the Taviani brothers. It concludes as they do some location scouting in the marvelous old city of Montepulciano for Maraviglioso Boccaccio (Wondrous Boccaccio), a 2015 film. Vittorio Taviani died in 2015 at the age of 88, and Paolo is 89 and still making films.

Fulvio and Fabia take turns reading an extract from the book, Crimine infinito (Infinite Crime). The novel is based on the true story of a soccer player who gets involved in the 'Ndrangheta, the Calabrian organized crime syndicate.

We're at a police station, where the printer is acting up and a phone call comes in from a patrol car. We also hear what happens after the soccer game when the president of the Teramo Calcio comes to congratulate the team.

Inspector Barreca gets to where the Italo-Australian has been stopped and fiddles with something without being seen. In the locker room of the stadium, Del Vento enjoys his victory shower, a moment he always looks forward to. Then he sets out towards Calabria to visit some relatives.

This series begins with Diabolik, the greatest criminal of Italian comics or fumetti as they are called because of the "clouds of smoke" (speech bubbles) present in comic strips. Fumo means "smoke." In this segment, various personalities describe the character Diabolik, both the good and the bad.

Diabolik drives a Jaguar, but not an ordinary Jaguar. He is able to transform the car in order to facilitate escaping when the need arises. In a way, both Diabolik and his car wear masks and assume different identities.

The creators of Diabolik had commuters in mind. They wanted to create something engaging that one could read in the time of a commute, and which was pocket-sized. We also discover why the name Diabolik ends with a K.

At the beginning, the Giussani sisters decided to hide their identities as women. Even so, it was not easy finding distribution. And there were other mysteries, as well, surrounding the early days of the iconic comic book, Diabolik.

Over time, Diabolik's outfit and facemask are transformed. His nemesis is a police inspector with sound morals, an interesting past, and a fascinating love interest.

The artists talk about the process of designing the comics, and how the characters evolved in terms of design, over time, from designer to designer.

Diabolik isn't the work of one person, but rather the result of a group effort. Each contributor has a distinct role but they all have to come together, mindful of keeping the continuity from one episode to the next.

Some of the stories in Diabolik come from the outside, notably from readers. A few of them are recounted here. They often related to controversial topics in the news and in some cases, charges were pressed and copies of the comic book were seized and destroyed.

Over time, Diabolik gained new status. It became cool. Nowadays, whether you read comic books or not, you know who Diabolik is.