Luca Spadaro continues his investigation into discrimination in the 21st century, which began last year with a work dedicated to African children exploited as slaves in Italian agriculture, staging a monologue about women, or rather, how a heterosexual, educated, left-wing, radical chic man sees them.

An actor, L.S., is in his dressing room preparing for rehearsals of Shakespeare's La bisbetica domata. As was the case in Elizabethan theatre, the female roles in this production will be played by male actors, and L.S. will play the title role of Katherina, the “shrew”. However, the director of this play, the famous and mysterious Gisèle Pelicot, has chosen to conduct rehearsals in an unconventional way: the paying audience will also be present in the dressing room alongside the actor. No privacy.
L.S. puts on his make-up, gets dressed, goes over the script and chats on the phone with a friend. A female voice, broadcast over a loudspeaker, gives him precise instructions. The rules established by the director categorically prohibit any direct interaction between L.S. and the audience. The voice continues to command, dictating every gesture. Gradually, the actor finds himself increasingly exposed and vulnerable in front of the curious eyes of the spectators.