The meeting between the Cinema and Taormina, since the silent days, has given life to an inexhaustible reservoir of stories and atmospheres that has had important witnesses. In fact, important names on the international cinema scene set and shot their stories here. Directors who with their gaze and way of feeling have been able to transform corners and monuments of the Ionian town into a large natural set. The first to approach Taormina were, almost certainly, the pioneers of cinema who made documentaries there. The call of blood (1919) by Louis Mercanton was, on the other hand, the first film with a subject set between the sea and the alleys of a still unspoiled Taormina, while in 1921 it was the first Italian film shot here, entitled Senza Amore, directed from the 'cineletterato' Arnaldo Frateili, to his directorial debut. Continuing with large steps along a timeline we can mention some films shot between the 50s and 60s such as The Wonderful Picture (1951) by Richard Brooks, Tipi da spiaggia (1959) by Mario Mattoli, Intrigo a Taormina by Giorgio Bianchi and The adventure of Michelangelo Antonioni both from 1960. Then again Divorzio all'italiana (1961) with the direction of Pietro Germi and The Latin lovers (1965) with Totò, Franco Franchi and Ciccio Ingrassia. In short, with a few exceptions, the sentimental trend, the well-frequented beaches, the beautiful and uninhibited girls, the Latin lovers are the issues that emerge during the period of the Italian economic boom. In the next years, precisely in 1985, an attempt of this kind will be made by Mariano Laurenti, who exploits the popularity of the Neapolitan singer Nino D'Angelo, setting not in Naples (if not in part), but entirely in Taormina, a nice comedy by amorous-singing-seaside character, entitled Pop Corn and Chips. From the 80s is also Luc Besson's film, Le grand blue (1988), freely inspired by the rivalry between two champions of diving in apnea. The presence of Taormina is also significant in Il piccolo diavolo (1988) by Roberto Benigni, the second part of which is entirely set in the Sicilian town and we can still find glimpses of the city in the famous Johnny Stecchino (1991) also by and with Benigni. In many films there is also the "looming" presence of the Ancient Theater, seen as a mythical dream or as a suggestive emblem of a different era, as it appears - among others - in two foreign films: the Canadian Lèolo (1992) by Claude Lauzon and the best known The Goddess of Love (1995) by Woody Allen. Recent films include Diego Ronsisvalle's Un amore di Gide (2008) and Carlo Verdone's Grande, Grosso e ... verdone. The presence of Taormina - from the twentieth century to the present day - as we have seen was not the prerogative of Italian cinema alone, its notoriety and popularity has also attracted international cinema to it - as demonstrated by German, French and American films - and the attention of world famous directors. Taormina therefore appears as a physical entity, a place for meetings, celebrations and at the same time, as a privileged set by nature, which has been the background and setting of the dreams that unfold on the screen.