Maryam is a 25 year old Iranian girl living in Rome and she is shooting a documentary about Anna, a 40 year old woman who lives on the street, that with her way of speaking by visions and predictions and her elegant manners, clashing with her life conditions, caught the attentions of Maryam. The producer of the documentary introduces her to the 27 year old Hesam, also from Iran, and the two start working together. They fall in love, and Hesam moves to Maryam’s studio flat. They are two souls that found and recognised each other, one gifting itself to the other. But the feeling of belonging will turn after a few time into an uncomfortable limit… and maybe, in Anna’s reasons and ravings, Hesam and Maryam could find the answers to their life.

DIRECTOR’S NOTES:
You begin a road glimpsing a point of arrival. And like a miracle happiness is welcomed. Maryam and Hesam get lost in each other, in the pleasure of love and in the perspective of a wholeness that should be the very meaning of the union of souls and bodies. But as for an unavoidable law of causality to all happiness corresponds a fear that threatens its existence... the fear of getting lost and losing everything. Then, the essence is perhaps in letting yourself go, and Anna's wandering condition is a depiction of that. The mystery that she carries behind, which Hesam and Maryam investigate, is perhaps the very mystery of the essence. Toward the night, as a realisation of an omen, is the story of an authentic love between Hesam and Maryam, but it is also the story of its ruin... or better, it is an investigation into the imperceptible nuances of words, gestures and silences, which tell in the story the insecurities of the fragile and unstable soul of the protagonists, and into the strength required to drag yourself among the rubble and grasp, just before the end, the sense of existence left, that very shade that once glimpsed will make Anna say: ‘Ah, that's what I missed’ and that gave her serenity... All develops around a documentary, the one about Anna's life, and in the entire movie the rhythms, the tone and atmospheres of the documentary are kept to emphasize the continuity between what the two lovers are investigating and their own life. Therefore... a live camera on the shoulder, close to the actors, which follows and shows them in their truth, is the stylistic code of the filming, supported by a raw photograph of contrasts and of marked lights and shadows... A narrating voice, the one of Hesam who tells Mehran how he came to ruin, or enlightenment, and to the will of living in a park on the outskirts of Rome ... an attentive editing to the angst, but also to the need of waiting and its times, and to the time of poetry and silence ... Scenography, costumes, and makeups are expressive and evocative in the stylistic and chromatic choices, but still charming and real... and a music that underlines the atmospheres and emotions with discretion ... all aesthetic components are at the service of an authentic re-presentation, of both the events and the characters, given by the actors.