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Roberto, a young man going on forty, is a pharmacist in Turin. For the past few months he has been dating a younger woman, Sara, who moved to town to work as the manager of a big hotel in the centre of the city. Roberto is in love with Sara and gradually tries to convince her to get involved on a more serious and permanent basis by offering her the keys to his apartment and trying to see her as often as he can. But Sara, despite her initial enthusiasm, becomes evasive and suddenly seems to slip away from him. Roberto discovers he has been betrayed, but the fear of losing the woman he loves outweighs the suffering of her betrayal. He tries to keep the relationship going at all costs. When her rejection becomes final, he collapses into a state of total despair. Roberto falls sick. He can’t work or eat and his suffering becomes all consuming. The only person he shares his pain with is Carlo, his brother, ten years his junior. Carlo is involved in a relationship that seems to be going very well with Yuri, his boyfriend, an engineering student who also lives with him. Roberto makes a final desperate attempt to convince Sara to stay with him, but she leaves the city to go back to her former love. And thus Roberto finds himself one night, lonely and desperate, sobbing in his brother’s arms.
March
Roberto is apparently happy once again. He is with another woman now, Alba, his own age, who lives with him and works as an exhibition organiser in a major contemporary art gallery. They are making plans for their life together by looking for a bigger apartment and even want to have a child. But Roberto is overcome by a psychosomatic condition that worsens day by day. He can’t sleep and is gripped by sudden attacks of panic and anxiety. Something is tormenting him and he fears to name whatever he thinks it might be. Roberto then discovers that his brother Carlo is seriously ill and will have to face a very delicate heart operation. The way Carlo deals with this difficult situation, by sending Yuri away to protect him from any pain, makes Roberto realize that he no longer loves Alba. He must face the truth before it is too late. Roberto suddenly breaks off with Alba, causing the same pain and anguish to her that Sara had caused him.
His brother Carlo recovers from his operation and can look forward to truly living again. Roberto is now on the threshold of a new stage in his life.
But a final twist of events seems to suggest that the roles between lovers, between the victim and the torturer, the lover and the loved, are often interchangeable and can switch according to a logic that is very different from anything one might expect.
Maria Sole Tognazzi began working in cinema as a director's assistant and then as first assistant director. During that time, she also began directing her own videos clips. These included:
Il Gigante (Paola Turci), L’Eccezione (Carmen Consoli), Non Mi Lasciare Qui (Sergio Cammarire), and Passione (Neffa).
In 1996, she directed her first short Non Finisce Qui produced by (M.C.D. S.r.l.) Seal Production S.r.l. The film was nominated for a Globo d’Oro. She made her second short, C’ero Anch’Io, produced by Video Lucky Cinematografica, which won the 2000 Globo d’Oro for Best Short Film.
From1997 to 1999, Maria Sole Tognazzi directed her own documentaries and Making of... films for theatre distribution.
The year 2003 marked her first feature as director with Passato Prossimo, which she co-wrote with Daniele Prato. The film was nominated for a David di Donatello, and won the Nastro d’Argento for Best Emerging Director, as well as the Globo d’Oro for Best First Film. She was awarded the Best Director award at the Annecy Film Festival. The film participated in competition at the Moscow International Film Festival and was the only Italian work to be selected.
Also during 2003, the Tognazzi made a commercial to support medical research with Sergio Castellitto, Claudio Santamaria, Gianmarco Tognazzi, and Pierfrancesco Favino.
In 2005, Maria Sole Tognazzi co-wrote the screenplay Ancora with Doriana Leondeff and Ivan Cotroneo for Cattleya.
She began working on the treatment and screenplay of L'Uomo Che Ama / The Man Who Loves in 2007. The film was co-written with Ivan Cotroneo and produced by Biancafilm.
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