Fuori

In 1980, writer Goliarda Sapienza is arrested for theft, and meets two young inmates in prison. Following their release, the three women form a deep bond.^[1]

• Valeria Golino as Goliarda Sapienza
• Matilda De Angelis as Roberta
• Elodie as Barbara
• Corrado Fortuna as Angelo Pellegrino [it]
• Stefano Dionisi as Valerio
• Antonio Gerardi as Albert
• Francesco Gheghi as Waiter at the train station café
• Daphne Scoccia as "James Dean"
• Carolina Rosi as the friend who is robbed
• Francesco Siciliano as publisher
• Sonia Zhou as Suzie Wong
• Ondina Quadri as Prison Officer
• Paola Pace as Pizzi
• Luisa De Santis as Trasteverina

In March 2024, director Mario Martone announced that his next film would be about Goliarda Sapienza.^[2] Principal photography began in Rome in June 2024.^[3][4] Filming also took place in Fregenae and Maccarese.^[5]

The first promotional stills were released on 3 December 2024, while a promotional clip was released on 10 April 2025.^[6][7] The film will be distributed by 01 Distribution in Italy, while Goodfellas owns the international sales rights to the film.^[8][9] It had its world premiere in competition at the 78th Cannes Film Festival on 20 May 2025,^[10] and was theatrically released in Italy on 22 May 2025.^[11][12] It was theatrically released in France by Le Pacte on 3 December 2025.^[13]

On the review aggregator website Rotten Tomatoes, 58% of 12 critics' reviews are positive, with an average rating of 6.2/10.^[14] Metacritic, which uses a weighted average, assigned the film a score of 47 out of 100, based on 5 critics, indicating "mixed or average" reviews.^[15]

Damon Wise of Deadline wrote, "The ending, then, is a little disappointing, since it involves a little twist that, if she really was paying so much close attention, [Goliarda] Sapienza would have seen coming. Nevertheless, the film’s central premise is refreshing."^[16] Guy Lodge of Variety called the film "repetitive, tediously non-linear" and "restless, darting". He commended the performance of Matilda De Angelis, however, writing, "De Angelis is electric as the capricious, self-destructive Roberta, even if the character herself isn’t very substantively written, and the film's very pulse quickens whenever she enters the frame."^[17] Lee Marshall of Screen Daily also noted the film's non-linear structure, writing that "the temporal leaps don't distract from the fact that the plot is threadbare in places".^[18]