A young girl is getting ready to welcome a client at her apartment. The man, transposition of Don Quixote in a 90s Milan, following a precise ritual, devotes himself to the maniacal cleaning of four rooms. The girl, personification of Dulcinea, eats, reads, paints her nails and smokes. She dresses up and gets undress as if Don Quixote was not there and as if there was no relationship between them. The client, following a pathological scheme, steals some girl’s objects, putting them in plastic bags and then inside a small briefcase. Sometimes the objects being fetishized are destroyed like victims of maniacal bursts. This mechanism leads to the repetition of a celibate and solitary rite.

DIRECTOR'S NOTES:
Dulcinea is the first of three works entirely shot inside domestic locations. I have called it “Trilogy of the apartment”. It is about three obsessive and pathological feature films in which the solitude of the events of the characters is constantly put in relation with the hosting architectural space. Three works in three different format: 16mm for Dulcinea, VHS and digital camera for the others, which are currently in production. In Dulcinea the solitude permeating the characters is an absent presence, hidden by methodical actions and by the predictable sequence of events, which apparently situates them outside of time and human miseries. The actors, being deprived from any psychologism, adhere for the entire work to a plastered posture, taking the audience in front of a puppet pièce of exhumation and fetishistic sexuality.