An open house in Turin gathers around an extreme event, the end of life of a young therapist whose inner search crosses the frontiers of science, moving beyond religions, dogmas, and norms. Martina discovered she was ill just as she had found her vocation, in her early thirties, helping others with irony and a radically sincere way of sharing what is most intimate. The film grows out of the expansion of this impulse, an invitation to explore forms of consciousness that remain largely uncharted. What emerges is a surprising journey where science and imagination brush against one another, and the intimacy of relationships forces a rethinking of the boundaries of the real.
Martina’s illness, and her pioneering experience with the use of entheogenic plants as a source of serenity and an expansion of consciousness in a state of suffering, becomes the starting point of a path that speaks to everyone, suspended between presence and absence. Close contact with death transforms the gaze of those who entered the open house, and of those who will enter it through the film, the house Martina opened so that her experience might illuminate the finitude of life, dissolving taboos with a contagious, ironic, and profoundly generative energy. This film is a hymn to life.
This film grows out of a deeply personal impulse, rooted in director Michele Cinque’s family connection to the story. Martina and Eugenio invited him, and allowed him, to enter their journey at the very moment when they were clear about what they loved to do, both professionally and humanly. The spontaneity with which the project emerged, and the urgency with which the protagonist herself encouraged it, made it immediately clear that this was not merely about documenting, but about giving continuity to an ongoing work of profound research, capable of breaking down enormous taboos, already initiated by them: a lasting trace made up of writings, reflections, podcasts, psychedelic journeys, an open dialogue of care that did not want to fade away and that, on the contrary, sought to be universalized, reaching the widest possible audience.
In this process, the collaboration between the director and his production company Lazy Film and Mybosswas emerged just as naturally. Not only because of a long-standing mutual respect and artistic and production affinity, but also because of the human sensitivity and genuine respect that the Mybosswas team could bring to these themes, in light of a similar experience lived within the studio itself.
