The book of Marina Spada’s third feature film, Il mio domani: between the director’s way of seeing and those of the two photographers, who give back its places, the locations, and its people, the bodies and faces of the actors and of the far more numerous crew. Places, faces and bodies, but also sets, precise though provisional, and movement, action, the relationship between the many who work on a film and the few who act in it. Frames from the film and photographs speak to each other to build a many-sided image not only of film-making but of an evocative and representative fragment of contemporary Italy.