A young and brilliant lawyer from Trieste, after successfully defending a charismatic university professor against charges of sexual assault, is contacted by him again to file a lawsuit against the university, which, despite reinstating him, has relegated him to a marginal role.
At the same time, her past comes back to haunt her: strange signs, elusive presences, and a constant sense of threat make her suspect that her ex-partner—violent and so obsessed with her that he was convicted of stalking—has resumed persecuting her.
As the line between reality and imagination grows increasingly blurred, Elisabetta decides to uncover the truth, in a mounting spiral of tension that will leave her alone and force her to question everything she thought she knew.

DIRECTOR'S NOTES:
Seeing vs. looking: perceiving something with our eyes, or steadying our gaze on someone or something. Around this apparently minor difference we organized our visual writing, which would lead to the directing of the mis-en-scène.
The story takes place in the city of Trieste, which, as Umberto Saba put it in 1912, in a poem dedicated to the capital of Friuli, still appears today to be “populous in principle, deserted beyond; closed by a wall where I sit over the sea and the setting sun…A strange air, a tormentuous air, this native air.” And it is just that nagging and wholly original air that I borrowed to bring Elisabetta’s turmoil and Valder’s obsession to the screen.
For this narrative, we put ourselves in the shoes of the “parrhesiastes”: those who, as Foucault explains, tell the truth even to their own detriment.