Argomenti trattati
The new Italian drama La Buona Stella arrives on Rai 1 as a compact, three-evening series that combines a tense crime thriller arc with intimate family drama. Airing beginning on April 13, 2026, the show threads its narrative through a literal journey: starting in Rome and moving south toward the varied landscapes of Calabria. The series centers on two damaged characters whose fates collide over a stolen bag of money, and the locations they pass through are treated as more than mere backdrops; they become part of the storytelling itself.
While the central plot is about mistakes, pursuit and attempts at redemption, the production also serves as a visual tour of southern italy. Director Luca Brignone and a cast led by Miriam Dalmazio, Filippo Scicchitano, Francesco Arca and Laura Cravedi place the viewer inside towns and coastal stretches that range from wild beaches to intimate inland lanes. The filming choices highlight how setting can echo inner turmoil: when characters move toward the sea or deeper into rural areas, the landscape amplifies the emotional stakes.
The story and the road
At the heart of La Buona Stella are Simone, a fallen athlete whose personal life is in pieces, and Stella, a determined police officer coping with the loss of the man she loved. Their connection begins when Simone removes a bag of cash from a crime scene and Stella finds herself investigating that very case. As criminals close in, Simone flees with his ex-wife and daughter along the Ionian coast, creating a tense sequence of escapes and confrontations. The series uses this escape as an engine to examine second chances and the costs of past errors, with the road trip functioning as both plot device and emotional map.
From Rome to Calabria: mapped locations
The production transforms several real Italian towns into cinematic settings, so viewers can trace the protagonists’ route. In the opening episodes, administrative buildings in Fiumicino stood in for a police station: municipal offices and external façades were dressed and adapted to read as a functioning precinct. This kind of local adaptation—turning ordinary public buildings into on-screen institutions—shows how production design can reshape familiar urban places into narrative anchors, giving a strong sense of place while remaining rooted in real architecture and streetscapes.
Coastal stops and marine scenery
The journey along the Ionian Sea brings the cast and crew to locations such as Crotone and Isola Capo Rizzuto, where rocky headlands, port-side views and clear waters supply cinematic contrast to scenes of flight and tension. Isola Capo Rizzuto in particular is noted for its extensive protected marine area and crystalline coves, which the series uses to frame quieter, reflective moments between characters. These coastal images illustrate how shoreline geography can shift a story’s mood—from hazard-laden chases to contemplative pauses beside the sea.
Inland villages and quieter tableaux
Moving inland, the production visits lesser-known communities like Cutro and coastal villages such as Botricello, both offering narrow streets and unvarnished daily life that contrast with the open sea. The route culminates in Lamezia Terme, where urban hubs meet the countryside. These towns supply the series with intimate, human-scale settings: markets, squares and residential lanes that make the dramatic choices of the characters feel grounded in everyday Italy rather than in stylized backdrops.
Production, cast and local involvement
La Buona Stella is a co-production between Rai Fiction and Paper Moon Italia, supported by the Calabria Film Commission. The shoot involved a large crew and more than a hundred professionals, including local actors and extras. That on-the-ground involvement helped the series capture authentic textures and allowed communities to appear on screen as themselves. In practical terms, Fiumicino’s municipal offices were repurposed to resemble a police headquarters, demonstrating how small changes in set dressing and camera angles can transform civic spaces into convincing law-enforcement environments.
Why the locations matter
The choice of these specific places is not incidental: the contrast between the urban structures around Rome and the raw coastal and rural scenes of Calabria mirrors the characters’ shifts from public roles to private vulnerability. The locations function as emotional signposts, offering viewers both striking vistas and humble, lived-in corners. For travelers inspired by the series, the towns featured present a mix of accessible seaside stops and authentic inland communities that remain largely off the typical tourist track.
Final note
Whether you watch La Buona Stella for its plot, its performances or its scenery, the series doubles as a travelable map: a route that starts in the capital and opens onto the complex, scenic landscapes of southern Italy. By blending a tight narrative with real locations, the show invites audiences to follow the characters’ footsteps and, perhaps, plan a small trip to discover the genuine places that shaped their story.