Studies on the imaginary, closely related to reflections on literature and art, reveal the extraordinary theoretical richness of Sartre’s thought. Art, imagination, freedom. A fundamental triptych for understanding the work of this multifaceted author, especially in the first phase of his production. This is what the article by Adriana E. Neacşu, “l’art comme forme de liberté”, that of Antonio Scuderi, dedicated to the “empire of images” and that of Lorena Stuparu, who investigates the relationship between art, subjectivity and self-creation. In particular, we are pleased to give voice to Michel Sicard, who has been working for years on the theme of the role of aesthetics in Sartre’s thought, with a contribution that focuses on expressionism and post-surrealism. Sartre’s well-known contribution to the world of literature and theatre is also taken into consideration. Just think of the fortune of an expression such as “hell is other people”, found in No Exit, to which Caterina Piccione dedicates her essay. Heiner Wittmann’s article is instead addressed to the world of literature. Finally, the cinema is the youngest art with which Sartre is confronted, certainly fascinated by the new device for moving images – to the point that he even tried to write screenplays, one of which, Typhus, was published for the first time in Italian this year and is reviewed in this volume. Two contributions are specifically dedicated to the relationship between cinema and Sartre: a journey through silent cinema by Francesco Caddeo and an analysis of the relationship between cinema, Sartre and Bergson by Antonio Catalano. In the free section, we present an important contribution signed by Ciro Adinolfi dedicated to the ethical writings composed by Sartre during the mid-1960s, in which the author reconstructs in depth the development of a possible existentialist morality after the turning point of the first volume of the Critique of Dialectical Reason.