Carlo Lavagna's luminous film is permeated by a gentle blue light that, far from creating a serene atmosphere, accentuates tensions between the members of this family of three. Despite the aesthetic beauty that surrounds the characters (furniture, landscape, clothing) there is something profoundly unsettling in the household. The parents are excessively happy in their marriage, and seem far too pleased with their relationship with a 19-year old who hasn't had her first period and clearly doesn't fell great in her skin. The arrival of an outsider to this nucleus and a link to the past— the neighbor and Arianna's uncle Arduino— is the first element to disturbs the peace, triggering a puzzling quest Arianna will pursue to the end.
Frugal in dialogue and abundant in masterful cinematography, the film's tense atmosphere is teeming with thoughts and feelings that have been silenced for years. These cinematic elements moreover enable the film to grasp Arianna's innermost conflicts throughout her journey.
When pushed, Danco's father says he does not deserve heaven but rather hell, "because I have remorse, regrets— because I thought life would be always the same; that you would always feel young, robust, capable, but suddenly you realize that life ends," underscoring where Danco positions herself— in a melancholic space intertwined with surreal, hilarious moments that lend the film a certain lightness against the more exhausting philosophical explorations.
At some point, Danco asks her father if it wouldn't be much better to accept who one is regardless of the regrets one may have. Though rhetorical, this inquiry comprises the spine of the film itself: an artist's means of coming to terms with the meaning of her own story and identity.