The Stolen Children 1992
Directed by
Gianni Amelio
Made by
Erre Produzioni
The Stolen Children Plot Summary
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11-year-old Valentina Scalici as Rosetta and 9-year-old Giuseppe Ieracitano as Luciano live with their mother in the housing projects of Milan, two internal migrants from Sicily who face prejudice in their adopted city. Their mother is unemployed and their father has long since abandoned them. For the past two years, the mother has forced Rosetta into prostitution to survive. When authorities raid the dwelling, the mother and a client are arrested, and the children are slated to be sent to a Catholic orphanage in Civitavecchia, near Rome.
Two carabinieri, Enrico Lo Verso as Antonio and Fabio Alessandrini as Grignani, are assigned the thankless task of escorting the children by train. Grignani deserts Antonio in Bologna, leaving him to carry the burden alone. The siblings are unruly and often squabble, with Luciano sickly and reticent, while Rosetta is cynical, rebellious, and adept at manipulation. At the orphanage, the priest in charge (Agostino Zumbo as Sacerdote istituto) claims Rosetta’s medical file is missing, a pretext that Antonio suspects is tied to her past.
Desperate to protect the children, Antonio tries to contact Grignani for guidance, but Grignani offers little help. Ignoring proper orders, Antonio decides to improvise and take the children to another institute back in their native Sicily. The plan stalls when Luciano suffers an asthma attack on the way to the train station, forcing them to miss the train. They spend an awkward night at a carabiniere acquaintance’s bachelor pad, a moment that underlines the precariousness of their situation.
After a long train-and-coach journey, they arrive unannounced at Antonio’s sister’s home in Calabria, which doubles as a restaurant. There they celebrate a young girl’s First Communion. Antonio confesses to his family that Rosetta and Luciano are the children of a superior, and Rosetta is dressed in a stylish, age-appropriate summer dress to mingle with other girls. Luciano enjoys the warmth of Antonio’s grandmother, who gives him a photo of a six-year-old Antonio in a Zorro costume. Yet this fragile moment is shattered when a guest recognizes Rosetta from a tabloid article and reveals her past to the other guests. Humiliated, Rosetta darts outside while Antonio chases her down, offering quiet reassurance. That encounter marks a turning point for Antonio, who begins to feel genuine compassion for the siblings beyond a sense of duty.
With a renewed resolve, Antonio purchases an old Fiat 128 and moves to remove Rosetta and Luciano from Calabria, driving them to the ferry terminal at the Strait of Messina. On the ferry, he finally talks with Luciano, and instead of heading straight to the Gela orphanage, he takes a detour to a cheap hotel near Marina di Ragusa, where the three share adjoining rooms.
The following day, they visit the beach, and Antonio teaches Luciano to swim, deepening the bond between them. They meet two young French women who take a liking to Rosetta, and together they drive to Noto to visit the cathedral. A tourist hands Rosetta her camera, which is promptly snatched; Antonio pursues the thief and brings him to the local Carabiniere station. There, one tourist lightly confirms the family’s troubled past, and Rosetta overhears the word “prostitute,” which instantly dampens her affable mood. Antonio faces accusations of kidnapping, abuse, and failing to obey orders, and is forced to surrender his warrant card for a court-martial. After hours of uncertainty, they are all released.
Antonio drives the trio to Gela late at night, his silence a sign of concern for his career’s future. Near their destination, he parks at an abandoned block, where they fall asleep in the car. At dawn, the children wake and reflect on their prospects—what lies ahead for them in the orphanage and in a world that has already judged them so harshly.
The Stolen Children Timeline
Follow the complete movie timeline of The Stolen Children (1992) with every major event in chronological order. Great for understanding complex plots and story progression.
Mother's arrest and the plan to escort the children
Authorities raid the home; the mother and a client are arrested. The children Rosetta and Luciano learn of their looming fate to be sent to a Catholic orphanage in Civitavecchia. Two carabinieri, rookie Antonio and veteran Grignani, are assigned to escort them by train, but Grignani exits the mission in Bologna, leaving Antonio to proceed alone.
Grignani bolts, leaving Antonio to continue solo
With Grignani gone in Bologna, Antonio must take charge of escorting the children by himself. The kids are unruly, and Luciano is pale and quiet, while Rosetta is cynical and manipulative. Antonio struggles to maintain order and keep the mission moving toward the destination.
Arrival at the orphanage and denial
At the Catholic orphanage in Civitavecchia, the priest refuses to take the children because Rosetta's medical record is missing. Antonio suspects prejudice against Rosetta's past as a prostitute. He realizes the system may not be willing to help, and the plan to place them here is falling apart.
Antonio contacts Grignani for guidance, but is abandoned for good
Antonio calls Grignani for instructions, but the older man offers no help and avoids accountability. Frustrated, Antonio decides to take matters into his own hands and relocate the children to Sicily. This bold plan marks a turning point from duty-bound escort to paternal-protective intent.
Asthma attack delays the journey; they miss the train
On the way to the train station, Luciano suffers an asthma attack, derailing their schedule and causing them to miss the train. They end up spending a tense night at the bachelor pad of a Carabiniere acquaintance. The trio's fragile plan begins to unravel as fatigue and fear set in.
Arrival at Calabria: Antonio's sister's house and a First Communion
After a long train and coach journey, they arrive at Antonio's sister's home in Calabria, which doubles as a restaurant. The family is hosting a young girl's First Communion, adding a festive backdrop to the tense voyage. Antonio tells everyone the children are relatives of a superior, trying to blend in with the relatives.
Rosetta and Luciano connect with the family; a photo from Antonio's past
Rosetta receives a stylish dress and socializes with the other girls, while Luciano is befriended by Antonio's grandmother, who gives him a photo of a younger Antonio in a Zorro costume. The children momentarily enjoy normalcy and warmth. This respite deepens the bond between Antonio and the siblings.
Rosetta's past revealed; humiliation and escape
A guest recognizes Rosetta from a tabloid article and reveals her background to the guests. Rosetta is humiliated and runs from the house in tears. Antonio chases after her, offering comfort and reassurance, and begins to see her as a person beyond the scandal.
Plan shift: head to Sicily by ferry
Seeing the need to act, Antonio decides to remove Rosetta and Luciano from the scene and drives them to the ferry terminal at the Strait of Messina. He has acquired an old Fiat 128 and intends to relocate them to Sicily. The journey resumes, but the path remains perilous and uncertain.
Ferry crossing and a brief stop in Marina di Ragusa
During the ferry crossing, Antonio speaks with Luciano, and they take a detour to a cheap hotel near Marina di Ragusa, where he rents two adjoining rooms. The temporary lodging provides a rare moment of privacy and stability for the trio. Tension threads through the air as decisions about their future weigh on them.
Beach day and new friendships
The next day, they visit the beach where Antonio teaches Luciano to swim, strengthening their bond. Two young French women befriend Rosetta, adding a glimmer of normalcy and potential romance in their otherwise grim voyage. The sea becomes a backdrop for fragile trust forming between them.
Noto Cathedral and the theft
The group heads to Noto to visit the Cathedral where a tourist lends Rosetta a camera, which is soon snatched by a thief. Antonio chases and captures the thief, handing him over to the Carabinieri station. The incident exposes the group's vulnerable status to outsiders.
The tourist's gossip inflames trouble; arrest and court-martial threat
Inside the Carabiniere station, a tourist discusses the children's background in blunt terms, and Rosetta overhears the word prostitute. Her demeanor shifts from friendly to distant, and Antonio faces accusations of kidnapping and abusing the children and of failing to follow orders. He is stripped of his warrant card and kept for court martial before being released after hours.
Final leg: to Gela and late-night stop
Driving toward Gela, Antonio is desolate about his career and how the system treats him. The car stops at an abandoned block where the children sleep after a long, exhausting journey. The fragile trio end up spending the night in the car as dawn approaches.
Dawn reflections and uncertain future
At first light, the children wake and sit together on the roadside, discussing their future in the orphanage. The event closes on a note of quiet resilience and ambiguous hope as they prepare for whatever comes next. The bonds with Antonio have shifted from duty to genuine care.
The Stolen Children Characters
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Rosetta - Valentina Scalici
Rosetta is an 11-year-old who appears cynical, rebellious, and manipulative, shaped by a harsh upbringing. Her sharp tongue and quick wit mask underlying vulnerability and a longing for security and belonging. She tests boundaries with adults while seeking connection with the stranger who protects her.
Luciano - Giuseppe Ieracitano
Luciano is a sickly, quiet 9-year-old who rarely speaks and relies on others for care. His fragility makes him dependent yet perceptive, and he forms a close bond with Antonio during the journey. His vulnerability underscores the human cost of institutional abandonment.
Antonio - Enrico Lo Verso
Antonio is a rookie carabiniere assigned to escort the children, initially bound by rules and duty. As the journey unfolds, he discovers genuine compassion and a protective instinct that overrides procedural concerns. His growth becomes the emotional core of the film.
Grignani - Fabio Alessandrini
Grignani is the older carabiniere who ultimately abandons Antonio in Bologna, reflecting a divide between strict duty and human empathy. His actions reveal the fragility of authority and the consequences of following orders without considering people involved. His absence complicates the mission and forces Antonio to improvise.
Madre Rosetta - Maria Pia Di Giovanni
Rosetta and Luciano's mother is unemployed and has forced her daughter into prostitution, illustrating the socioeconomic pressures surrounding the children. She is arrested during the authorities' raid, revealing the system's harsh reach. Her situation helps frame the children's precarious existence.
Maresciallo - Renato Carpentieri
The Maresciallo is the higher-ranked figure in the escort pair, representing formal discipline and institutional limits. He embodies the official side of the mission, whose actions and decisions influence the course of the journey.
The Stolen Children Settings
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Location
Milan, Bologna, Civitavecchia, Calabria, Strait of Messina, Marina di Ragusa, Noto, Gela
The film unfolds across northern and southern Italy, beginning in the rough housing projects of Milan where migrant Sicilians face prejudice. It follows a forced journey by train and road as authorities escort two children to an orphanage, with a detour through Bologna and a stop in Civitavecchia near Rome. The trip continues through Calabria to the Strait of Messina and finally to Sicily, visiting towns such as Marina di Ragusa and Noto before reaching Gela, shaping a cross-country landscape of poverty, hope, and resilience.
The Stolen Children Themes
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Family & Belonging
The central relationship is built as Antonio steps into a surrogate care role for Rosetta and Luciano, revealing how kinship can form beyond blood ties. The children test boundaries and rely on a protector who accepts their flaws without giving up on them. Across the journey, trust and loyalty gradually replace fear and suspicion.
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Duty vs Compassion
Antonio struggles between following orders and doing what is morally right for the children. Grignani represents the rigid side of authority that abandons the mission, highlighting the costs of proceduralism. The story suggests that true justice requires empathy and personal judgment.
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Migration & Prejudice
The film portrays internal migration and the prejudice faced by Sicilian migrants in Milan and through Italy's social systems. The road trip exposes how different Italian communities react to marginalization and stigma. The kids' experiences reveal how environment shapes identity and resilience.
The Stolen Children Spoiler-Free Summary
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In the bustling, starkly divided world of contemporary Italy, a young family of internal migrants struggles to survive in the cramped housing projects on the outskirts of Milan. The city’s relentless rhythm and the lingering prejudice against those who arrived from the south create a backdrop of social tension that permeates everyday life. Within this environment, a seasoned carabiniere whose sense of duty is as rigid as the uniform he wears finds himself assigned a task that will pull him far from the familiar streets he patrols.
Antonio is ordered to escort two vulnerable siblings—Rosetta, an eleven‑year‑old girl hardened by hardship, and her nine‑year‑old brother Luciano, quiet and frail—away from the chaos of their home toward an orphanage in Sicily. The children’s recent trauma, rooted in a mother’s desperate choices, has left them mistrustful and combative, their relationship marked by sharp edges and reluctant dependence. Their personalities clash: Rosetta’s cynical, street‑wise swagger meets Luciano’s shy, protective silence, setting the stage for an uneasy partnership that promises both conflict and the possibility of connection.
The journey itself becomes a moving landscape where the stark contrasts of Italy’s north and south are felt not only in scenery but in the shifting attitudes of those they encounter. As the trio traverses the country, the rigid structures of law, duty, and bureaucracy press against the fragile human bonds forming in the cramped space of a police car. The road acts as a crucible, testing Antonio’s compassion and resolve while offering the children fleeting moments of safety and glimpses of a world beyond their recent suffering.
Through restrained yet vivid storytelling, the film paints a portrait of survival, duty, and tentative hope. It invites the audience to linger on the quiet exchanges and unspoken tensions that define this reluctant fellowship, leaving the outcome of their passage—and the deeper changes it may inspire—deliberately open to imagination.
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