A timeless spa resort, a 1940s hotel, a place far removed from the present. Not Ornella Vanoni’s life, but the revelation of her privacy exposed. Her energy, personality, music, and diva-like tantrums that force the troupe to stop multiple times. Elisa, the director, films it all, leaving nothing out, not even the arguments. Then the meetings, friends, musicians, Paolo Fresu’s trumpet reverberating in the empty spaces of the large hotel in which, amidst identical days characterised by therapies and treatments, not only the story and the past, but also the future comes to life, while Ornella prepares herself to become a fantastical and eternal creature.
“Me: What does it mean to make a film about you? Her: A film about my life; up to a certain point it’s real and then it’s unreal. It’s like a fairytale. It’s wonderful to end your life with a fairytale. It is thus that this film takes shape, seeking to find the proper distance from which to portray Ornella Vanoni: performer, actress, mother, daughter, woman. Fragility, courage. Happiness. Music and more music. Objectivity and intimacy come together, the film that I have in mind and that which she suggests to me, speaking a language at times clear and at time indecipherable, ultimately producing a third film that includes both. The distance from the legend is broken by the immediacy of the cell phone, the confessions confuse inside with outside; onstage and offstage are part of the same story. Because with Ornella there’s no time to think, only to do, eventually discovering that doing is a way of thinking. And of telling a story, even a fairytale, of portraying a life.”