Born in 1964, Italian director Alina Marazzi began studying film in London in the 1980s. She quickly became part of a new generation of Italian filmmakers interested in video art, the documentary genre and all forms of expression using new technologies. These "poetic possibilities" are crystallized in her work with the Milanese studio Azzuro.

His first film For One More Hour with You (2002) lays the foundations of his work. Interested in memory via the archive, she confronts the domestic image confined to the male-gaze through the juxtaposition of personal letters from women: in this case, those of her mother.

Later, she deepens this methodology of hybridity through the use of national archives of post-war Italian society, advertisements and written notebooks (We Want Roses Too): the archive becomes no longer the illustration of History but a new window on a chorus of political and social voices.

The image is thus no longer fixed and delimited to the historical designs of the frame, it converses on the contrary with the contemporary realities of the spectator. It is reinterpreted in the long time by a subtle dialogue between its contextual function and the evolutionary and personal investment of this (re)mounted meta-history.

Moreover, Marazzi's fictional voice and letters are added to and sometimes crisscross her work, informing us about the process of discovery of her material: from micro-history to a more personal discourse, it is always women and their cultural identities (Forever) that the filmmaker strives to re-transcribe through the re-interpretation of tenacious and permanently distorted patriarchal visions.

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