He uses references to the classics of Italian neorealism by Fellini, but without turning his film into an imitation of the genius of the past. A chaotic jumble of moments from youth are remembered by the author, passed through the filter of his adult outlook, ironic but touching . Memory acts like a magnifying glass, turning a half-forgotten reality into something grotesque. Every person is obliged to turn around one day, as Orpheus and Lot’s wife did.

The risk is great, because either the past will disappear forever, or the memory carrier will turn into a pillar of salt. A personality is born out of a million insignificant details which leave scars for various reasons. The main character has silence in his cassette player until the end of the movie, because music can’t replace those who are not with us. This is how teen dramas become adult traumas. The Baroness, like the goddess of fate of the Park, lets Fabietto into her super pussy before cutting the umbilical cord that connected the boy with the past. She gives him the most important lesson: look at this life and think about your own. Think about what you like in this life. In this life there is already everything that is needed, everything that death will take away.