In a house on a lake, a writer is working on a new text based on a great classic. They stare at the words on the page, after having written nothing more but a caption. They are unable to move on without becoming tangled up in the web of parallels between the work and their own life.
The mother is a great actress at the height of her artistic career, exactly like the situation on the pages of her new draft. The woman she is in love with is an actress embarking on her career, just like in the classic that serves as the framework for the new story.
The two of them, each reflecting the other, seem not to grant the main character the recognition they inspire to as a man and an artist.
His frailty is the same as the “new forms” that they crave, forms that are not yet well known and that, like him, end up being misunderstood.
In the background, the lake observes love and destruction.
«The essential image of this work is dictated first and foremost by the lake – Ferracchiati explains. A lake-placenta from which it is difficult to detach, because separating from one’s origins means standing on one’s own two feet, without being seen differently by others. It means being born, renouncing the concept of mother and the status of son. There are therefore “many loves” still to come, just like in Chekhov’s The Seagull, but they will be divided between those that permit life and those that kill.»