Tutto su di noi

Marzia discloses herself with rage, violence, and brazenness. She trains her lean physique through wrestling and learns how to turn her body into a barrier between herself and the world. But it is not enough. She can’t escape the conflict, the spider’s strategy, the web that her mother and father have woven around her, each in their own way. She believed (and keeps on believing) in the existence of perfection: she saw it in a dog that she wasn’t able to defend, and she saw it in a guy she met on a mountain trail. She saw it but also considers it lost, threatened by the vulgarity of a razzing. Finding a way out requires sacrifice, change, closure. Marzia proceeds dauntlessly along the crumbling path of affection, moving past the school of anger, regrets, and morbid dedication where she was trained. She goes forth like a cowboy or, even better, like the free woman she always wanted to be. Romana Petri masterfully accompanies the pounding first-person narrative of her Marzia as she stands on the verge of an abyss. The hell that she reveals, however, is part of a “whole”: the more she feels the burn of the broken mosaic of feelings, the more it makes way for a possible life.