Edoardo is going through a crisis. He’s a composer blessed with great talent who, due to a combination of temperament and existential circumstances, has trouble accepting compromises; his creative and workday realities have become insufferable. His sentimental life has borne the brunt of this dissatisfaction and this, in turn, has literally sent him reeling: his ability to make the best of it and seek compromise collapses beyond hope of repair . 

And this is when Edoardo takes a “sabbatical” of sorts. 

Upon arriving in Spain, he’s a cynic, a nuisance and a bore, fed up with himself and dispirited, incapable of writing music in which he can recognize himself. His encounter/clash with that small town, its women, its colors and tastes, opens him up to life and heartfelt emotions again, giving him back the energy and inspiration to once again compose “his” music.

Like the women circling him, even Edoardo undertakes a pathway of change. What develops between Edoardo and the other characters is a therapeutic exchange of sorts, which comes about first and foremost through the communicative power of music.

Music, especially in an “aggregating” form like that of a polyphonic choir, manages to unite the most disparate and distant, creating a bond that cancels all social and cultural differences. 

Edoardo’s passion for music also becomes his means of redemption, both human and professional, as well as a way of reconciliation vis-à-vis h his own Country, that Italy now so different and vulgar…

The film also wishes to be this: a glimpse, at once tender and sarcastic upon a female universe, both placid and eager for change and clarity, a world which also through song, finds the force and energy to rebel against adversity.