The introspective routes that drives Anna Di Prospero to create these works don’t result from a spontaneous implosion of narcissistic feelings, or respond to an uncontrolled vanity ostentation of the self. By contrast, according to a disciplined awareness, rare in authors so young, Anna provides as pretext her ex-teenager own figure to stage momentary slips of reason not only clearly understandable, but also widely shareable. The switched colours in warm hues, the studied symmetry of some shots, some elements of side scene as cut intend to accompany us, no less of wise juxtapositions of prospective plans or allegorical multiplication of actors, through possible parallel worlds to the real one. And they are causing to our eyes an effect of harmony at the same time familiar and confusing: they do it with a mysterious and unsuspected vision, with intriguing innocence, with just a little worry bonhomie.