Erica De Lisio

In a retirement home in a small town surrounded by mountains, the daily lives of the people who live there alternate. Them inside, the world outside. An imbalance that manifests itself in "Pucundrìa", an indefinable feeling of melancholy, boredom and perennial dissatisfaction, which leads to an unconscious resignation for what has not been, is not and can never be.

Fabrizio is unable to explain his impotence (which occurs only with his girlfriend). One evening he stares in the mirror and, after some hesitation, shaves, sacrificing a thick and characteristic beard goatee, typical of those years. Here begins, with a simple gesture that we could define as 'unconventional', the transformation of Fabrizio. Immediately a vital impulse emerges in Fabrizio that leads him to 'want more' from a life enclosed in watertight compartments and protocol rules. The viewer is an accomplice and faithful travel companion in his process of metamorphosis, who is not asked for a judgment or an opinion, but a simple understanding and vision of history, as it is, without prejudice.

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Alberto, Francesco, and Mariella live in Carbonia. Their childhoods and youth were filmed on Super 8 and then stored away in an old box. Now, in a cinema, they will watch those images again after many years. Through three intertwining stories, the film explores the evolution of a country that experienced the rapid economic growth of the 1980s, feminist struggles, and the simple yet secure life of the old working class.

Bobby, the grandparents' dog, guides us on a journey through memories and the hills of Irpinia, the silent guardian of a world made up of ruins, memories, and the scars of time.