We are in the theater of the novels La mia Kasbah and Where is the virtue the old palace in via della lungara described by Sandra Petrignani and Fiorella Minervino where Fernanda and Ottavio hosted Allen Ginsberg, organized psychoplay for Harold Brodkey and installed the kitchen for two years macrobiotic that saved the life of the Pivano when he fell ill with cancer. A time theater that the writer tells: "In my Kasbah, here in Trastevere, I came to live fifteen years ago.It was an ancient tower divided into two wings, each with its own little garden and each divided into two wings. Each wing had a dozen aligned apartments, small, no more than a hundred square meters, three rooms arranged on three floors connected by a spiral staircase that ended on a terrace with ocher walls, that rosy that returns on all the old Roman walls under the setting sun. Here Fernanda, after the painful separation from the architect Ettore Sottsass jr., Lives with Ottavio, day after day, an encounter / clash between two generations who seek and fight at full strength to the point that many believe them (or would like them) married. And the boy is lucky enough to grow as a director and psychodramatist, madly in love with a woman in love with transgressive creativity. A woman to whom she feels bound even when, after thirty years, Ottavio's passion has turned into a feeling of tenderness and protection veined with jealousy. Which does not prevent him from dedicating himself to a theological girlfriend and the boyfriend Men and Pappagalli. Little does it matter that the Pivano of the last years in the Diaries published by Bompiani would have denied his long Roman life disguised as "the farce Rome-Barcelona" (where the Spanish city alludes to the girl with whom Sottsass recreated for three years).

From the historical point of view Generations of love, testifies the long Roman holidays of Nanda and denounces the Damnatio Memoriae wanted by Pivano tormented by neurotic shame on which he has capitalized some unscrupulous and creativeless administrator. In fact Fernanda Pivano was also a Lustige Witwe able to give and take happiness with her enchanting musicality. Today the film and especially the fight around the film reveal the comedy, the tragedy (and sometimes the operetta) hidden behind the "farce" and retroactive cancellation. They show the splitting between alternative Fernanda and the Victorian Pivano and the moments when the two got together at risk of turning the essayist into a writer. The feature features unpublished photos from the Sottsass archive and photos from the Pivano family album.