The third and final season of The Law of Lidia Poët arrives on Netflix on 15 April, bringing Matilda De Angelis back to the screen as Italy’s first female lawyer — a historical figure upon whom the series draws loosely to portray her professional and personal struggles in late nineteenth-century Turin. The new chapter, comprising six episodes and filmed between April and July 2025 in Turin and the surrounding area — with shoots in Chivasso, Gassino Torinese and Sciolze — is set in 1887, at a pivotal moment in the story: Enrico Poët, played by Pier Luigi Pasino, has become a Member of Parliament and is championing a bill that could finally restore Lidia’s right to practise law.
Joining De Angelis are returning cast members Eduardo Scarpetta as journalist Jacopo Barberis, Sara Lazzaro and Gianmarco Saurino, whilst newcomers include Liliana Bottone and Ninni Bruschetta, playing Grazia Fontana and the Crown Prosecutor Cantamessa respectively. The season is built around a central court case — the murder trial in which Grazia Fontana, a friend of Lidia’s, stands accused — which is set to become a media sensation and to call into question both the personal relationships and the legal convictions of the main characters, with Lidia and Pierluigi Fourneau ranged on opposing sides. On the narrative level, the conflict extends into the private sphere as well, between the unresolved bond with Fourneau and the return of Jacopo, whilst the protagonist grapples with the possibility of establishing the principle of self-defence in a courtroom dominated by an all-male jury.
The direction is by Guido Iuculano and Davide Orsini, who also handle the writing alongside Elisa Dondi, whilst the cinematography is by Beppe Maio CCS, who continues to shape the visual identity of the series through an approach attentive to period reconstruction and atmospheric rendering of the settings, with a contemporary sensibility. The production is by Groenlandia in association with Netflix, which handles international distribution.
Giuseppe Maio told us:
“Lidia Poët has been, and remains in the collective memory, a free woman — rebellious, ahead of her time, modern, passionate, exceptionally intelligent and exemplary. These are the words that gradually clarified for me the visual construction of the series. It is a series that grows from a complex screenplay; it sets out from historical narrative, ventures into noir, engages with comedy, has grotesque notes, manages to hold the love story and the crime plot on an equal footing whilst never neglecting the existential journey of the women and men who sought to leave their mark on the world. My approach was a visual search, almost dichotomous, in the utopian attempt to bring parallel tracks closer together. Colour weds shadow, light weds night. A constant wager in seeking, in every scene, that ‘singular’ quality that might draw the viewer towards a writerly intention. I took the risk of modernity within a story fixed in time. The photographic vision aims to be faithful to a human journey rather than to a period — I tried to think freely without becoming trapped in obsessive pictorial reproductions of the era, attempting to liberate the gaze and seeking it in the revolutionary one of Lidia Poët.”
