Netflix’s grim true crime drama feels authentic and atmospheric but suffers from a lack of narrative focus…

True crime drama can stray into dangerous territory when the real-life outcome is unknown – or at least unconfirmed. This was the issue facing the makers of The Monster of Florence (Il mostro) (2025).

Netflix’s grim, atmospheric multi-part series concerns the hunt for a killer who targeted couples in the Tuscany region of Italy. It’s based on the non-fiction book The Monster of Florence by Douglas Preston and Mario Spezi.

Beginning each episode with a label that states the series is “based on ongoing investigations” makes clear that while the identity of the killer is assumed, it hasn’t been confirmed. This ambiguity proves both a strength and weakness.

Each episode meanders back and forth between the various crimes and suspects, from 1968 to 1982. This structure is at times effective; at others confusing. There is also a sense of repetition as the police home in on a likely culprit and put him in jail, only for another pair of near-identical murders to occur.

While we spend time with the investigators, much of the narrative revolves around Stefano Mele (Marco Bullitta), a wet blanket who is pushed around by his cruel, overbearing family. Later, he’s manipulated by creepy lodger Salvatore Vinci (Valentino Mannias), who fixates on Mele’s wife Barbara Locci (Francesca Olia).

Her abuse by Salvatore and Mele’s family, and her husband’s indifference, lead her to infidelity that ends in tragedy. This both kicks off the murder spree and gives us several viable suspects, which helps to keep the interest going throughout the four hour-long episodes.

Premiering at the recent Venice International Film Festival, this is a well-acted drama which doesn’t shy away from showing us an ugly side of Florence – from the everyday misogyny and clunky legal system to the sexualised murders.

The fact the crimes remain unsolved proves not to be a significant detriment to the drama. But it is let down by a general lack of narrative focus and a tendency to linger on the gruesome crimes, especially in the later episodes.

Writer takeaway: Ambiguity in a real-life story can be a strength or a weakness, requiring clear narrative focus and creative discipline to avoid becoming sprawling and unsatisfying.

Take a look at the trailer: