Daria is getting married, and Antonio is the best man. They are two artists who have lived in the same building for years, but now she’s moving to another neighborhood. They get to work on a new project inspired by Federico Fellini’s Ginger and Fred, and bring in Emanuele, Monica, Francesco, Martina, and Andrea. First, tap dancing classes, as the script comes together one day at a time, with rehearsals in Rome, Rimini and France, in theaters shut down by Covid-19. Euphoria is running high, despite the uncertain times, and our theater troupe starts to resemble a gaggle of shipwreck survivors, bewildered by the way real life gets confounded with what is tentatively shaping up as the stage production.

One of the most highly regarded pairs of authors, directors and performers in European theater, Daria Deflorian and Antonio Tagliarini engage with Federico Fellini's cinematic imagery and his deep look into human lives. A work about meeting each other, dancing together, being a couple, intimacy and dialogue, loosely inspired by the film Ginger and Fred starring Marcello Mastroianni and Giulietta Masina as an elderly tap-dancing couple, Pippo and Amelia. The title comes from the reversal of a line Amelia says at the end of the film to Pippo: “I don't think we will have the chance to dance together again.” It is also a work dedicated to the performers, the masks they wear, and their determination to play all their lives.

Lily looks inside, then leaps. A dive into the consciousness of an industrial database. The film reconstructs the fictional memories of an industrial computer plant. Blending the present with the past, an artificial consciousness grapples with three ways of looking at reality. Photographs, archives, and fiction, hybridized with rotoscoping and digital reconstructions using photogrammetry, help Lily, the industrial software, increasingly approach human perception.