ENECEfilm

Vincenzo has always led a marginal existence. He is now 42 and has not seen his daughter for a long time. One day, he takes the train to go and see her, not even knowing if he will be welcome. The time of the journey will be like his lifetime. Time without an apparent conclusion, where everything is mixed up in the chaos of his acts, the consequence of a lust for life and poor choices. It is a non-linear time, with chronological return trips that correspond only to the energy of the protagonist. More a mental time than a real time. The editing is king. And with it a single character, plus a few supporting roles.

A young girl is getting ready to welcome a client at her apartment.The man, transposition of Don Quixote, following a precise ritual, devotes himself to the maniacal cleaning of four rooms. The girl, personification of Dulcinea, eats, reads, paints her nails and smokes. She dress up and she get undress as if Don Quixote is not present there and as if there is no relationship between them. The client, following a pathological scheme, steals some girl’s objects, he puts them in a plastic bag and than inside a small briefcase. Sometimes the objects he fetishizes are destroyed like victims of maniacal bursts. This mechanism leads to the repetition of a celibate and solitary rite.

A happy New Year's Eve, the capitone, the little girl who is a little curious about it and a little scared, the fireworks in the sky of Naples, the kisses of the new year. Suddenly, however, that same house appears different, it is empty and silent, while the director's hands seem to search for traces of something that has perhaps already become a memory. Via Campegna 58 was the author's parents' home, where she grew up, was a daughter and then a mother. Upon his father's death he must empty it, and in lingering in every corner, as if to thoroughly scrutinize the smallest details, it is as if he wanted to take that past life with him, enclosed in the objects, in the useless things that every house accumulates, among the pens , the paintings, the clothes hanging neatly in the wardrobes, the black and white photographs of the young, beautiful, happy parents.

Against the backdrop of Italy in the years of the Fascist dictatorship, a man of wealth but unknown to history scrutinises the world with his little film camera. He is guided and instructed in the process by a handbook in which the germs of the ideology are concealed beneath the apparent objectivity of technique. But ineffable signs of resistance still surface in the images.

A family with no identity dreams of appropriating the memories of the other ... but who dreams who?