The artistic and existential parable of Lou Castel in Italy, the country where the Swedish-born artist was formed as an actor, becoming, in the collective imagination, the symbolic face of the cinema of the contest of Bellocchio, Cavani, Samperi. An experience “trapped” between two emblematic characters both directed by Marco Bellocchio: the Alessandro of the debut with the fists in his pocket (1965, a film-manifesto of a generation that was about to explode in a while with ’68) and the Giovanni of the rebirth with Gli occhi, la bocca (1982, the beginning of a second career after the political militancy season of the ’70s). Crossing a suspended Rome, halfway between post-industrial archeology and Pasolini’s relics, Castel opens to a long flow of (in) consciousness on the complexity and contradictions of his role as an actor and, together, of a political activist, in a generous an act of love towards what is his profession today, where acting is never a purely mechanical process, but a way of being in the world, an opportunity for life, even a revolutionary gesture, of a continuous affirmation of one’s own being. And where every fall, every collapse, is an opportunity for revival and openness towards the new, the other.