Finalmente l’alba is the night-long journey of the young Mimosa who, in the Cinecittà of the 1950s, becomes the protagonist of hours she will never forget. A night on which the girl will turn into a woman.

DIRECTOR'S NOTES:
At first I wanted to write a film about Wilma Montesi, a young woman who was killed in April 1953 and whose case became Italy’s first media-frenzy murder. The press speculated on the affair, which involved personalities from politics and show business, and sparked an obsession in the public, which soon turned into indifference. The victim vanished from the headlines, giving way to a line-up of possible perpetrators of the crime.
Then, as often happens in writing, the initial idea changed and instead of letting an innocent girl die, I sought her redemption. In fact, I like to think that Finalmente l’alba is a film about the redemption of simple, naïve individuals, those who can still look at the world in wonder. The protagonist, Mimosa, is a blank slate on which all the characters she encounters write their stories, without fear of judgement.
Mimosa is indeed a simple girl, a very young film extra at Cinecittà who, in 1950s Rome, accepts a glamorous invitation from a group of American actors and spends an endless night with them. By daybreak, she will emerge transformed, discovering that courage is not about meeting the expectations of others, but about discovering our true selves.