The life of Filumena Marturano is at a turning point. She must save her children. She needs to provide them with an honest life, a profession, a peaceful and fruitful future.

She is with a wealthy man from a good family, who later becomes obsessed with the racetrack and gambling. She is loyal to him, serves him, and steals from him innocently whenever necessary for her three children.

The lover, as is natural, falls in love one day with a nurse whom he wants to marry. It is then that Filumena revolts and intervenes with every cunning. She reveals to her illicit lover that she has three children and that one of them is his.

Filumena will never say which one, to avoid the father's preference and rational egoism. Yet, she will need to give some name to her three young children, who have now grown up and must take a stand in this situation.

Filumena Marturano, with its unprecedented success in the theatrical history of recent years, represents the most valuable indication of Italian theater regarding boundaries and quality. True theater always resonates with the audience; however, this theater must be national and authentic.

Eduardo de Filippo, actor and writer, brings to light the condition of Italy, on the margins and with all its boundaries, yet with honesty. He listens to the movements of souls. The creatures he individualizes and depicts break down the hidden walls that still separate us from the reality of our troubled world.