Angela, 30, braves her phobias in search of the ideal love. She flits here and there, from disturbing psychoanalysts and disturbed girlfriends to her undisturbable mother, clinging to her fads, believing in signs, numbers and luck. The man of her dreams is closer than she thinks. Love letters go astray. Playful misunderstandings, set to the rhythm of Japanese poetry, finally put some sense into the seemingly faltering fandango of her life.
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“It was the first time I’d followed a film from A to Z, starting from the moment when Mimmo Calopresti first aired the idea of a girl who meets a man in the street and decides he’s the love of her life. I was there, in some way or other, at every stage: the writing and casting, setting up the production, location scouting, naturally the filming and even the various stages of editing. At one time I had an urge to write bits of dialogue, as I felt we were talking about things and people I knew. I made a few suggestions, modestly, for the writers to use for inspiration or not, as they pleased. So when it was time for me to work alone, as an actress, on the character, all that work had already been done. I felt I didn’t have to look (as I usually do) for the things I had in common with the character, I had to find the differences between us. Our personalities had too much in common. I needed to find out what separated us. (Valeria Bruni Tedeschi, excerpt from press kit)