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The Monster of Florence is a four-episode Italian Netflix series that makes uncertainty its central dramatic choice: it follows possible suspects’ perspectives without naming one as the killer. That restraint gives the story tension, but it also means viewers looking for a definitive answer should not expect one. The real case remains unresolved in public understanding, according to Netflix Tudum, and the series’ director says it does not take a position on the Monster’s identity.
What is The Monster of Florence about?
Netflix describes the series as based on true events, direct testimonies, procedural documents and journalistic investigations. Its account moves through the perspectives of people considered possible suspects, rather than presenting a single, settled explanation of the crimes. Those sources establish the material the production draws on; they do not mean every scene or line is a verbatim historical record.
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Netflix Tudum describes the case as involving 16 deaths over 17 years and says the Italian public still considers it unsolved. The same account notes that victims’ families petitioned for evidence to be reexamined as recently as 2022. The series revisits this history as a dramatized investigation, not as a final resolution of it.
How the series uses ambiguity
Suspects’ perspectives, not a verdict
The four-episode structure gives the story room to approach the case through possible suspects’ points of view. That format can make uncertainty feel active: each perspective adds context while leaving the viewer to weigh what can and cannot be established. It is a different promise from a conventional whodunit that steadily narrows toward one revealed culprit.
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What viewers gain—and what they may miss
Director Stefano Sollima told TIME that the series does not take a position on the Monster’s identity. He also said, “There was not a single perpetrator who has been sentenced for all 16 murders.” The distinction matters: that statement does not mean no one was ever convicted of any related crime; it says no single person was sentenced for all 16 murders.
As a critical approach, refusing to announce a culprit can preserve the case’s unresolved character and discourage false certainty. It can also frustrate viewers who expect a true-crime series to deliver a clear answer. Here, that lack of a conventional payoff is part of the design, not evidence that the series has solved the mystery off-screen.
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True story, dramatized account
The series is grounded, by Netflix’s description, in several kinds of investigative material and testimony. That gives it a documented foundation, but viewers should distinguish between the existence of those sources and the show’s interpretation of them. A dramatized scene can convey a perspective or recreate an event without serving as a transcript or independently verified record.
In the TIME interview, Sollima said he aimed to portray Italy of the period as culturally different from contemporary expectations. That stated aim helps explain why the series may foreground historical context alongside the investigation; it should be understood as the director’s approach rather than a comprehensive account of the period.
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Victims and the unresolved case
The case’s victims are not simply a backdrop to a puzzle. Netflix Tudum’s account that families sought renewed examination of evidence in 2022 is a reminder that the unresolved history has ongoing human stakes. The available sources do not establish how those families view the series, so its ethical success cannot be inferred from the fact that it revisits the case.
For viewers, the most responsible way to watch is to keep the series’ reconstruction separate from the real people and legal outcomes it depicts. Netflix’s framing and Sollima’s comments support a clear conclusion about the show’s stance: it presents an investigation and competing possibilities, not an authoritative identification of the killer.
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Netflix announced the first installment for October 22, 2025. It has four episodes and was directed by Stefano Sollima, who co-created it with Leonardo Fasoli. Netflix’s official materials identify the project as an Italian series.
On June 26, 2026, Netflix announced that production had begun on a new three-episode installment, directed by Sollima and created by Fasoli and Sollima. The announcement described it as a new chapter revisiting the investigation through a new lens, but did not give a release date.
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Verdict: a true-crime series without a tidy answer
The Monster of Florence is best suited to viewers willing to sit with an investigation that does not resolve into a single on-screen culprit. Its focus on possible suspects and its deliberate refusal to choose an identity make ambiguity the main interpretive experience. That is a meaningful way to approach an unresolved case, though it may feel incomplete if closure is the reason you watch true crime.
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