Every performance tells a story. The characters belonging to the world of fiction become credible reality for the spectator thanks to the actor's technique. In Traces in the Snow the technique itself becomes the protagonist. The actor carries on a dialogue with the secrets, which precede and follow the building of a character and the creation of a performance – and its process, she exposes these secrets. The tension, which characterises every drama, is also present in this performance/work demonstration, due to the confrontation between the actor’s two forms of behaviour: daily and scenic.

A white deck chair, a large fan, a bonsai, combs of mother-of-pearl, a decapitated head carved out of wood, long hat pins to pierce its eyes and tongue and for adorning the hair, a red dressing gown, a white silk nightdress. Through the justification of the biblical story of Judith, the performance explores the theme of violence and vulnerability, plunging into an ocean of luminous and murderous eroticism.

A fantasy film about a girl who must set out to find the werewolf she has been connected to since childhood, redeem it, and shoot it.