The references to the Renaissance of the great painters, to figures who left their mark on the 20th century –Beckett, Man Ray, Bunuel, Eisenstein– to architectural models –Hadrian’s Villa, the Villa d’ Este, the Capitol, the Vatican, the E.U.R.– from an ensemble in the film that pertains to “Sibylline discourse” through the use of the double image. A discourse that is unpredictable, internal, mystical and most of all silent, one that foresees the end of innocence (part I), of indecipherable love (part II), of death (part III), of despair (part IV). But also with the masses being dispersed for centuries nowby the brutality of the powers that be, which leads the individual to isolation or madness. And at the end, the silent, despairing song of the Sibyl, in the shadow of the buildings of the fascist period (E.U.R.), signals her return as “prophecy”.