Naples, 1959. Pure Mathematics professor Renato Caccioppoli, Bakunin's grandson, is a tortured soul. Recently discharged from the psychiatric hospital, left by his wife, and increasingly disillusioned with academia and the Communist Party, he lives his last days with painful detachment.

In the late 1990s, in a dilapidated theater in the heart of Palermo, Carlo Cecchi is working on a production of A Midsummer Night’s Dream, the second play in his Shakespearean trilogy, translated by the poet Patrizia Cavalli. Director Francesca Comencini – who sees Cecchi as the last representative of an Italy not subservient to the media and Berlusconi’s power – decides to follow him and is allowed to film the show’s rehearsals, on the condition that she does it all on her own and with discretion.