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An American family in the streets of Naples.

The courage to hope and the life affirming gift of organ donation.

The greatest dream of a unique woman, Maria, future Queen of Spain and wife of Charles King of Naples and Sicily and of a special man, the greatest architect of his time, Luigi Vanvitelli. Their Love goes beyond their own human existence and becomes real in the immeasurable beauty of the Royal Caserta Palace.

One night, in a house in the countryside, a man wakes up to the sound of an air raid warning siren. He has already heard that same sound in the spring of '99 in Belgrade, when the city was bombed by planes that left from Italy. His mother knows the siren sound too that preceded the bombing of Naples. That same night the two of them get together around the kitchen table to talk about fried eggs and war, a battered heart and a travel journal with a red cover. It's a night of insomnia and understanding. Then a glass is enough to separate them the following dawn.

Naples 1999, two boys and two girls full of hope. Naples 2013, the same protagonists disenchanted in a paralyzed city.

A movie set is an unreal, imaginary place, and portraying it means trying to hunt emotions and thoughts, catching the unexpected, the moment in which a sparkle of truth insinuate into fiction. "Portrait from a set" is a short experiment in truth Mario Amura brings on taking advantage of the invisibility granted to that strange figure of licensed thief of secrets and tricks of movie-making that goes under the name of "backstage director" on the set of "Caserta Palace Dream", the James Mc Teigue last shot movie.. Orson Welles considered Vittorio De Sica the greatest film director of all times, marveling at his ability to make his camera disappear to reveal the image. And so Amura does: he doesn't aim to make our eyes discover anything of what is in the "back" of the stage. Even the cast and crew, they are much more similar to a small "courtship" crossing the immense spaces of the Royal Palace of Caserta as a temporary intrusion of present time in what stands out of Time. On the contrary, he borrows the same perspective of the director's eyes, but to betray it in some way, looking for the rare instants in which something happens beyond the staging.

Through thoughts, reflections, and memories the author Erri De Luca drags the spectator into the vortex of his music, Italian squares, and friends. In these shots there is a personal interaction that becomes choral.