
Every August, journalist Sandro, his family and friends travel to the island of Ventotene for their annual holiday. This year they discover the neighboring house is occupied by a lower‑middle‑class family whose blunt habits and conventional values quickly come into conflict with Sandro’s more intellectual, progressive outlook.
Does August Vacation have end credit scenes?
No!
August Vacation does not have end credit scenes. You can leave when the credits roll.
Explore the complete cast of August Vacation, including both lead and supporting actors. Learn who plays each character, discover their past roles and achievements, and find out what makes this ensemble cast stand out in the world of film and television.

Teresa Saponangelo
Irene Vitiello

Antonella Ponziani
Francesca

Laura Morante
Cecilia Sarcoli

Rocco Papaleo
Brigadiere

Ennio Fantastichini
Ruggero Mazzalupi

Silvio Orlando
Sandro Molino

Raffaella Lebboroni
Betta

Paola Tiziana Cruciani
Luciana Mazzalupi

Raffaele Vannoli
Appuntato

Sabrina Ferilli
Marisa

Gigio Alberti
Roberto

Agnese Claisse
Martina

Evelina Gori
Gina Mazzalupi

Silvio Vannucci
Mauro Santucci

Mario Scarpetta
Rosario Vitiello

Claudia Della Seta
Graziella

Piero Natoli
Marcello

Emiliano Bianchi
Ivan

Oumar Ba
Tewill

Vanessa Marini
Sabrina Mazzalupi

Davide Clementi
Massimo

Daniele Barchiesi
Fabio

Renato Carucci
D.J. Peppino

Claudia Esercizio
Presentatrice cruciverbone

Cristina Aranci
Mariarosa
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Who is the leader of the group staying in the house on Ventotene in Augustine Vacation?
Read the complete plot summary of August Vacation, including all major events, twists, and the full ending explained in detail. Explore key characters, themes, hidden meanings, and everything you need to understand the story from beginning to end.
On the picturesque island of Ventotene, the summer unfolds with two groups of visitors staying in adjacent houses, each representing different social and personal worlds. One group is led by Sandro Molino, a journalist and self-styled intellectual, accompanied by his partner Cecilia Sarcoli. Their companions include her ex-partner, Mauro, who is also an actor, along with their young daughter Martina; Francesca, who was once romantically involved with Sandro; Betta and Graziella, who are friends of Cecilia; Ivan, Graziella’s son; and Roberto, an enigmatic traveler claiming to be on “official” assignments, who often flits between Africa, Cuba, and other distant locations.
The other group is headed by Ruggero Mazzalupi, a wealthy and traditional armory owner, typical of Rome’s old-money aristocracy. His entourage includes his wife Luciana, their teenage daughter Sabrina, their younger son, Ruggero’s elderly mother showing signs of senility, and Marisa, Ruggero’s provocative sister-in-law whom Ruggero has secretly admired for years. Marisa’s husband Marcello, a former nightclub singer turned perfume shop owner, owes Ruggero a substantial debt of fifty million lira. Ruggero, despite his apparent generosity, despises Marcello but hides his disdain, manipulating the situation to keep Marcello submissive and to influence Marisa’s choices.
The dynamic between these two groups is immediately tense. Sandro’s group finds the boisterous, superficial behavior of their neighbors irritating yet are simultaneously condescending, treating their attempts at friendship with sarcasm and aloofness. An incident occurs when Ruggero, in a reckless prank, fires a gun, unintentionally injuring an immigrant. This incident leads to police intervention, with Sandro filing a report that sparks political debates and moral judgments among the characters.
Throughout the summer, the characters’ personal dramas unfold amid the backdrop of the island’s tranquility. Societal tensions, unspoken resentments, and hidden passions come to the surface, all set against the starry sky that seems to witness their confessions and confrontations. Ruggero’s reckless act triggers a series of events where accusations fly, and political and personal issues collide in a confusing, chaotic fashion. The film portrays a sense of disorientation, emphasizing that many conflicts are rooted more in individual insecurities and long-standing grudges than in political ideologies.
As the season draws to a close, Cecilia confesses to Sandro that she is eight weeks pregnant with his child. His reaction is one of happiness and reassurance, promising to love the new life as he does Martina. Meanwhile, Mauro, unable to regain Cecilia’s affection, gets drunk at the village festival, falls, and hits his head. He’s taken in by a local family, where the daughter becomes infatuated with him, suggesting the beginning of a new chapter. Francesca, realizing she cannot rekindle her relationship with Sandro, bonds instead with Marcello, who feels misunderstood and is undergoing his own personal crisis. After a night of secret passion with Marisa, Roberto leaves for Africa, leaving her devastated.
Ruggero witnesses Marisa’s betrayal and intervenes just in time to prevent his daughter Sabrina, who is in love with Ivan but unrequited, from taking her own life. These moments of compassion bring Ruggero and his wife Luciana closer, softening years of emotional distance. The immigrant, after being involved in the reckless shooting incident and the subsequent media uproar, is eventually expelled by law enforcement for failing to comply with regulations.
As summer ends, most characters depart from the island, returning to their respective lives. The only person left at the dock, tearful yet hopeful, is Sabrina, who shouts “I love you” towards the ferry carrying Ivan, expressing her unfulfilled love and the bittersweet emotions of the season.
This film delicately explores the intertwined complexities of personal relationships, social class, and human flaws, all set against a backdrop of scenic beauty and summer’s ephemeral nature. Each character’s journey reflects themes of love, regret, reconciliation, and the search for meaning in transient moments, leaving viewers with a contemplative view of human vulnerability and connection.

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