WARNING: Be forewarned that some people face the possibility of experiencing photosensitive epileptic seizures. As the 1980s dawned, Carla Lonzi, an art historian and key figure in the feminist revolts of 1970s Italy, devoted the final years of her life to researching a group of 17th century French proto-feminists known as ‘Les Précieuses‘ – made famous by a play by Molière – which gave rise to Armande, sono io!, published posthumously in 1992. Based on this unfinished project with Lonzi’s notes, thoughts and sketches, Constanze Ruhm offers a militant reflection that echoes her previous film Gli appunti di Anna Azzori/Uno specchio che viaggia nel tempo (FID 2020), devoted to the reluctant heroine from the famous movie Anna (1975), which she sets about deconstructing. With this investigation, the film invents a movement in which these 17th century figures converse with voices from the 1970s to the present day. Included are publications by Rivolta Femminile, founded by Lonzi (and some of their authors, first and foremost Suzanne Santoro), as well as essays that intersect, interweave and respond to each other. Ruhm is accompanied on this adventure by the young protagonists who traverse the film, giving body and voice to past and current struggles and their demands, from one era to another. Here we find them taking part in an audition or reincarnating their elders, there returning to haunt a former women’s prison in Rome, or reappropriating poses borrowed from the paintings of Artemisia Gentileschi. All these gestures pay homage to the figures of the past, issuing a call to take up what has been started, deflected and fragmented, and to implement it by activating its transformative powers. Nicolas Feodoroff