The photos from the time when Fiorella and Bruno married bear the marks of a lost epoch. The bride – white dress, lace veil – looks slightly upward, like a picture of the Virgin Mary. The groom – black hair, black suit – looks straight into the lens, piercing and dark. She can’t say whether she ever loved him, Fiorella, who has just put the heavy, encyclopaedia-sized wedding album on her lap, says. 40 years lie between those photos and the presence of this film – 40 years of losing herself, as Fiorella once confesses in tears.

Valentina Primavera, the couple’s youngest daughter, returns to her parental home with a camera to expose a decade-long history of fights, insults and domestic violence. And she accompanies her mother’s attempt to finally and definitely break up with her husband after 40 years of marriage. The camera is a merciless device. Facing up to its relentlessness, that’s where the physical strength and effort of this film lie.