The Monster (1994)

A vicious serial sex killer is on the loose, and landscape gardener and shop-window outfitter Loris is the prime suspect, thanks to his unfortunate habit of getting caught in compromising situations (for which there is always a totally innocent explanation that the police fail to spot). Undercover policewoman Jessica is assigned by eccentric police psychologist Taccone to follow Loris and entice him into committing an attack so they can catch him in the act. What follows is a masterful comedy of errors, as the completely oblivious Loris misinterprets every one of Jessica's increasingly desperate seductive attempts. While she tries to provoke the "monster," the police watch via hidden cameras, hilariously misreading his every clumsy, well-intentioned action as the sign of a depraved, cunning mind. *The Monster* earns its place as one of Roberto Benigni's best films because it is a pure, uncut showcase of his singular comedic genius. Benigni, who also co-wrote and directed, unleashes a tour-de-force of physical comedy, contorting his body and his expressions in a masterclass of slapstick that harkens back to the silent film era. His portrayal of the perpetually bewildered Loris perfectly embodies his signature "innocent man-child" archetype, creating a hilarious and endearing contrast to the grim investigation surrounding him. The film's success hinges on the brilliant comedic chemistry between Benigni and his wife, Nicoletta Braschi, whose straight-faced determination as Jessica provides the perfect foil for his manic energy, making this an essential and riotously funny entry in his filmography.