Giorgio, a grown man, seems to be carrying out an adolescent plan, despite his middle age: to distance himself from his wife, hoping that she will then chase him. It is the only way he knows to take back control of a past and a pain that has united them forever.

Anna, on the other hand, leaves for a mission in a land devastated by war, where every day is a challenge and, at times, a form of redemption. Despite her young age, she seems to carry on her shoulders the weight of a life that seems too big, like a coat that is too big.

There are two departures that feel like escape. They are attempts at life at very different ages that try to look at what remains to do something with it.

Theirs is a simple, yet tragically rare story: a family that, after the death of their daughter in an accident, finds itself “just” a couple. This loss becomes the driving force behind their choices, their actions, and even their sacrifices.

The background is a complex environment, far from the safety of bourgeois salons. It is war, with its bombings that force people to take refuge underground, but it is also a place of extraordinary beauty and human acts that give hope. A context marked by an art that seems useless, yet essential, like a lifeline.

The character of the Fool embodies this delicacy, bringing actions that are caresses and telling of a time that passes even when hope seems to fade, when the world appears unchanged for generations.

In this scenario, mysteries are hidden only from the eyes of the public, as in a poetic thriller in which we do not ask who is guilty, but what is the fault. Moments of enchantment and brutality alternate, images that transport us elsewhere, words that heal and moments that keep us anchored. Between explosions and small poems, between dialogues that make us smile even in the heart of fear, we rediscover life and prepare ourselves, finally or again, for love.