The chilling saga of Italy’s “Monster of Florence”—a brutal series of killings involving eight young couples—continues to grip the nation, even four decades after the last murder. This isn’t just any crime; it’s a deep wound in Italy’s collective memory, a case that has captivated and horrified in equal measure.
For decades, this case has dominated headlines, spiraling into a complex web of accusations, arrests, and even jail sentences for over a dozen men. Each time, authorities believed they had finally unmasked the “monster.” Yet, the truth remained elusive, shrouded in rumors of satanic cults, shadowy secret societies, and a bizarre confession from an ex-wife claiming to have found human remains in her husband’s refrigerator. The narrative is as sensational as it is unsettling.
Each new lead ignited public debate, with fervent supporters declaring guilt or innocence. Today, a vibrant community of “mostrologi”—true crime enthusiasts—meticulously dissect every obscure detail and conspiracy theory. The sheer volume of material is staggering; one expert estimates at least 126 books have been penned about these murders.
Despite four convictions over the years, a cloud of doubt still hangs heavy, with many Italians convinced the true killer walks free. This lingering mystery forms the tantalizing core of ‘The Monster of Florence,’ a new four-part drama series premiering on Netflix this Wednesday, promising to immerse viewers in the unsettling narrative.
An eerie still from ‘The Monster of Florence’ shows a lone figure approaching a car with its headlights cutting through the night, hinting at the darkness within.
Each episode masterfully reconstructs the narrative of a different suspect, showcasing individuals whom investigators, at various points, believed to be the perpetrator. The storytelling is undeniably captivating, mirroring the real-life challenge of discerning definitive evidence.
Stefano Sollima, the series’ director and co-author, acknowledges the compelling ‘plot twists’ woven throughout the narrative. He explains their creative goal: to present this deeply intricate story without explicitly siding with any single theory or conclusion.
This series joins a growing wave of true-crime productions captivating audiences on streaming platforms. It follows the recent success of shows like ‘Monster: The Ed Gein Story’ on Netflix, a part of Ryan Murphy’s popular anthology that has previously delved into the disturbing cases of figures such as Jeffrey Dahmer and the Menendez brothers.
But ‘The Monster of Florence’ also offers a fascinating societal commentary. It paints a vivid picture of Italy from the late 1960s through the 1980s—an era of rapid economic growth and cultural transformation. Yet, as the impoverished and desperate lives of its characters reveal, this progress often bypassed certain corners of the nation, leaving stark contrasts in its wake.
Sollima points out the profound societal tensions of the era: while urban Italy embraced feminism and sexual liberation, rural areas often clung to a deeply patriarchal peasant culture. In these communities, men held absolute power as fathers and husbands, relegating women to subordinate roles. This stark dichotomy, he suggests, might have unwittingly ‘created the conditions in which a monster was born.’
Marco Bullitta portrays Stefano Mele in ‘The Monster of Florence,’ a central figure in the complex investigations.
The series opens with the tragic account of Stefano Mele, an uneducated Sardinian construction worker living in Tuscany. Mele was convicted for the 1968 murders of his wife, Barbara Locci, and her lover, Antonio Lo Bianco. These initial killings predated a terrifying spree between 1981 and 1985 that claimed 12 more lives, with another double homicide occurring in 1974.
Crucially, investigators confirmed that the same firearm was employed in all eight double homicides, linking the seemingly disparate cases.
The series meticulously traces a significant line of inquiry, dubbed the “Sardinian lead.” It explores the stories of Stefano Mele’s brother, Giovanni, and delves into the lives of Francesco and Salvatore Vinci—two other brothers who were also romantically involved with Barbara Locci.
All four men depicted in the series had histories of violence against women. However, the Sardinian lead eventually faded, leading investigators down new paths: first, towards a supposed secret sect operating in Perugia, and later, to a volatile Tuscan farm laborer and his close-knit group of associates.
Francesca Olia stars as Barbara Locci, whose tragic murder alongside her lover in 1968 marked the beginning of the terrifying spree.
Francesco Cappelletti, a key researcher and chief consultant for the series, notes that many of the suspects identified over the years were “not very convincing.” The mere association with this infamous case brought immense upheaval to their lives, with the release of composite sketches even leading to one man’s suicide.
Cappelletti observes a chilling paradox: since 1968, the justice system itself has arguably created more victims than the Monster of Florence. He describes it as an “investigative meat grinder,” relentlessly consuming numerous lives caught in its gears.
By laying out the extensive roster of suspects, the series implicitly questions the efficacy of Italy’s judicial system and investigative methods. While director Sollima and producer Lorenzo Mieli insist this wasn’t their primary intention, Mieli acknowledges that the theme of injustice and investigative blunders resonates profoundly within Italy.
Mieli is also behind ‘Portobello,’ another Italian original set to premiere on HBO Max in 2026. This upcoming series will chronicle the legal nightmare of Enzo Tortora, once Italy’s most celebrated television presenter. Tortora was wrongfully convicted in 1985 of ties to the Neapolitan camorra criminal organization, a conviction later overturned. His case stands as a stark symbol of judicial injustice in Italy.
Marco Bellocchio, director of ‘Portobello,’ aimed to convey the ‘heartache, tremendous anger, and utter astonishment’ of an ordinary man ensnared in a “Kafkaesque nightmare.” Stefano Bises, one of the show’s writers, adds that media sensationalism played a significant role, making the story “super contemporary” in its relevance.
Fabrizio Gifuni embodies Enzo Tortora in the upcoming series ‘Portobello,’ bringing to life a pivotal figure in Italian judicial history.
According to Mieli, both ‘The Monster of Florence’ and ‘Portobello’ are deeply “Italian stories that possess universal aspects,” touching on themes relatable across cultures.
Mieli illustrates the unsettling nature of such injustices: ‘If you trust in law and order, and then a wrongful arrest occurs, all certainties crumble.’ He likens Tortora’s arrest to accusing a universally respected figure like Oprah Winfrey of leading a Colombian cartel, highlighting the shock and disbelief it evoked in Italy.
Regarding the ‘Monster of Florence’ case, Cappelletti reveals his personal archive of lore amounts to a staggering 120 gigabytes. Yet, he concludes, ‘the only objective facts are the eight double murders. All the rest is vague and very uncertain,’ underscoring the enduring ambiguity of the investigation.
Astonishingly, the case remains officially unsolved. Recently, Florentine prosecutors ordered the exhumation of a Vinci brother for DNA comparison, and the nephew of one of the convicted men has formally requested a review of his uncle’s case, suggesting the search for truth is far from over.
Sollima reflects on the enduring enigma: ‘I don’t know if the ‘monster’ was ever truly caught, or if investigators came agonizingly close without realizing it.’ He believes the series’ strength lies in its commitment to ‘narrating all theories,’ rather than endorsing a single one, thus preserving the complexity and mystery of the case.