Monica is losing her memory. According to the doctor, it’s Korsakoff syndrome, and it’s irreversible. But what does irreversible mean? Isn’t it a release to restore meaning to things by borrowing the memories of another Monica, the great Monica Vitti? Isn’t it liberating to replace her, rather than completely erase herself? Perhaps, this new opportunity can constitute a form of “reversibility” to the protagonist; it’s difficult to say the same for her husband, Edoardo, who is deeply in love with Monica and decides to support this new state of things despite of himself. Roberta Torre’s film is a sweet delirium of interiors: Alba Rohrwacher gives body and soul to a non-character entirely based on disguises and overlaps. By chasing a ghost, the protagonist can perhaps paradoxically find a new life.