Me, Myself and Her

Marina Baldi, Sabrina Ferilli, and Federica Salvini, Margherita Buy, have been a couple for five years, presenting a picture of stability and warmth even though their personalities diverge. Marina is a former actress who wears her emotions on her sleeve, exuberant and socially open, while Federica is more private, measured, and careful with her public image. Their easy harmony on the surface is tested the moment a simple interview leaks into the public eye, when Marina, pressed about her love life, mentions Federica’s name and profession. The revelation throws Federica off balance and unsettles the sense of safety they’ve built together. Marina, for her part, believes that after five years Federica should be ready to acknowledge their relationship more openly, as if time itself could smooth over the tremors caused by disclosure.

Stefano, a director who has long admired Marina, sees an opening and presses her to take a role in his latest comedy, a project he even wrote with her in mind. The role would mark Marina’s return to acting after fifteen years away from the screen, and she agrees, in part because Federica’s response to the temptation is tepid—she attempts a gentle, somewhat awkward objection, but ultimately does not stand in the way. The casting note adds a layer of tension: a public re-entry into the world that Federica might fear or resent, and a reminder of the life Marina once led before they found each other.

Meanwhile, Federica reconnects with Marco, an old acquaintance she hasn’t seen in years. Years ago, Federica had felt a spark with him, but her circumstances at the time—being with her now ex-husband Sergio—kept the allure dormant. The encounter rekindles something, and Federica slips into an affair with Marco. The affair is discovered not by a private confession but through a simple, jarring text message that Marina receives. The revelation shatters the fragile equilibrium between them. Marina traces Federica’s steps to the next rendezvous and confronts the situation head-on, interrupting the meeting in a decisive break that underscored the gulf between what they want and what they can admit to themselves.

Initially, Federica tries to meet Marina’s demands—she submits to the ultimatum, attempting to recalibrate the relationship under the weight of suspicion and jealousy—but the strain proves oppressive. The constant scrutiny, the fear of being found out, and the sense that her own truth is being rewritten push Federica toward a more solitary path. She leaves, briefly staying with her son Bernardo, then finding a small living space at her office, and finally taking up residence with Marco. The arc of her independence sharpens while Marina’s world—what she knows of herself, her career, and her future—feels more precarious than before.

On the other side, Marina endures a long, painful struggle of her own. Grief and disappointment press in as she tries to salvage her career and her sense of self. She leans on her family and, at times, on Camilla, her ex-flame who has become a steady work assistant. The possibility of returning to acting remains a tempting thread, but Marina’s instinctive sense of loss runs deep, and she is torn between a former life she misses and a current life that no longer feels simple or safe.

The plot thickens when Marina considers telling Stefano that she cannot continue with the project. In a moment that could redefine her path, she foresees the fallout and the ethical cost of dropping out. Yet the project’s future dissolves not just in her hands; the financial backers pull the plug, leaving the director with a sudden, perhaps providential, reprieve from an awkward conversation and Marina with a choice to make about what she truly wants.

Throughout, Federica wrestles with a creeping sense that she has already missed the life she really desires. A dinner with Marco at the home of Sergio—now in a new family setup—becomes a turning point. Federica, feeling the weight of the past and the pull of a future she is not ready to abandon, slips away from the table and makes her way to Marina’s place. A tense doorstep exchange follows: Marina, who believes she has finally moved past the ache of Federica’s absence, confronts the reality of Federica’s feelings and the risk she is willing to take. Federica admits that she has been fighting a losing battle against the life she is meant to live, and Marina, after laying out the hurtful patterns that have driven them apart, asks for six months to figure out whether reconciliation is possible.

Federica, sensing the shift in Marina’s resolve, accepts the proposal but, in a decisive moment, Marina unexpectedly retracts. As she races down the stairs, she makes a bold, impulsive choice and tells Federica that six months may be too long to wait. In a final, charged moment, the two lovers come together and share a passionate kiss, signaling a renewed commitment that is both hopeful and precarious. The ending leaves their future open, inviting the possibility that their bond could endure or evolve, but it is built on a shared recognition of what they mean to one another and the courage to confront their own truths.

Characters that drive the emotional core are tightly drawn, with Marina Baldi and Federica Salvini anchored by their respective performances: Marina’s warmth and vulnerability, Federica’s guarded honesty and courage to seek her own path. The supporting players—Stefano, Marco, Bernardo, Sergio, and Camilla—add layers of conflict, loyalty, and practical constraints that shape the choices the couple must confront. Throughout, the film keeps its focus on the tension between public perception and private need, between the life one has and the life one wants, and on the surprising resilience that can surface when two people dare to redefine what they mean to each other.

Note: For first mentions of the principal characters, links to the actors’ pages are provided: Marina Baldi, Sabrina Ferilli; Federica Salvini, Margherita Buy; Stefano, Massimiliano Gallo; Marco, Fausto Maria Sciarappa; Bernardo, Domenico Diele; Sergio, Ennio Fantastichini; Camilla, Alessia Barela.

Last Updated: October 03, 2025 at 06:46