Almost sixty years ago, Italian director Florestano Vancini, in the film Le stagioni del nostro amore [The Seasons of Our Love] (1966), caught the first signs of an epochal collective disillusionment with extraordinary timing. In the film, the protagonist – a mature and now disenchanted left-wing intellectual – returned to his hometown, where he had participated in the Resistance twenty years earlier. Having become an important journalist and leaving the party, he visited his old comrades in the struggle. But, little by little, he realised that the personal and political crisis he was going through was actually a crisis of an entire world.