The confusion is evident in Piera. She began to question whether having everything meant that nothing was missing. But that is precisely the crux of this approach, which, mind you, did not point—although it did not rule it out, as we shall see in the plot—towards lesbianism, but rather towards the emotional or existential incompleteness that canonical institutions such as marriage offer couples at the dawn of the Generation X era. At first glance, it seems like a nod to the same kind of ennui—as a substitute for existential weariness in crescendo—found in ‘La Notte.’ I’m not just referrin…
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