The film tries to demonstrate the way to regain possession of the city not so much with physical interventions but with behavioral and mental operations. "To live is to be at home everywhere: the phrase, almost a carousel slogan, opens the film as you start a poster, a sort of password to which the smiling face of Ugo La Pietra - all intent on the street making the beard reflected in the glass doors of a large door - offers the evidence of the images. Cinema for La Pietra becomes an indispensable means for analyzing and decoding the environment, recording the traces of an original creative activity, dismantling and reassembling the topoi of urban architecture, creating behavioral indications capable of giving life to "one's" city . (...) ". (Paolo Mereghetti, 1977).
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