Alessia Bottone

In the years between WWI and the rise of Fascism, legendary thespian Eleonora Duse shocks everyone by getting back onstage at over 60 years of age. Struggling with the brutality of historical events unfolding and clinging to the possibility of utopia, she makes her art a revolutionary act, even at the cost of sacrificing health and affection—facing her final journey aware she could give up life itself, but not her own true nature.

Alfredo talks to himself or rather talks with a cigarette—bad thing loneliness, real loneliness, especially at the age of seventy. Alfredo is a man who has loved another man, Mario. He loved him so much that he found the courage to come out and lose his job and family. Mario, on the other hand, continued his married life, then became a father and finally a grandfather, because he is gay, but only part-time. Alfredo cannot bring himself to let him go, but neither can he live that relationship in the middle, so separation becomes inevitable here. At first, Alfredo convinces himself that he can escape the melancholy but then he accidentally slips on his partner's shirt and sees their whole life together again. Yes because all it takes is a scent, a smell to return there, where one was loved. Mario no longer wants to separate himself from that smell, which turns into an obsession, convinced that once it is gone, the last traces of their love will also disappear.

Giuseppe looked at the horizon as one observes a desire, as something to be reached in order to try to be free. Since childhood, his daughter Alessia, the director, often saw him looking out the window, wondering what was able to attract his attention in such an intense way. Several years later, during a return trip to Naples, her father's hometown, Alessia finds herself observing her father again. Also this time Giuseppe is always in profile and, while the landscape flows framed in the window of a train, his gaze tries to capture every moment, to stop those moments and save them from the fast passage of time.

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