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Two men are driving through the streets of Milan to transport a mysterious box. Their route is the source of other routes, which reveal an awareness of the city that was previously dormant. An awareness that is given to the viewer by the stories of the two men, now presented: Leonetto Di Ciolo and Felice Trovati. Felice is also the builder of a particular object, the Revisionist Bicycle, a pendulum clock constructed from bicycle parts that can alter the passage of time. We discover that it is precisely this totem that is the object transported at the beginning of the film, and that the two protagonists are on a mission: to place the bicycle-clock in a specific spot in the city, because Spring, understood as a form of endurance of wonder for apparently useless things, is Spring also in the city.

An unspecified future: humanity has vanished from planet Earth. A printer, set to automatic mode, keeps reproducing a short story by Franz Kafka featuring Bucephalus, the horse of Alexander the Great. Will this final message from humankind reach the surviving forms of life? Or will it be nothing more than words lost to the wind?

Two parallel stories. The same problems.

Moriss says that we live in a world where everything is fake, but precisely for this reason we can prepare ourselves for accidents. Unusual events loom over the streets of Milan, capable of arousing wonder and undermining feelings in the inhabitants, no longer accostumed to real things. What appears to be the organization of another great festival, awaited and desired, or the preparation to make sure art reaches the public, is in reality a caravan committed to keeping alive a resistance to homologation. Among the narrow urban spaces, the PICs act in silence to change the perception of everyday life. Unforeseen feelings, unseen possibilities, and accidents along the way prove the real intentions and purposes of the protagonists in this story.

Two friends looking for a missing girl.