Deeply plunged into those years atmospheres of linguistic renovation, Orsini chooses to sift the automobile myth through the metalanguage of images. The result is not just a film on 130 but a work on the ways to communicate the car values through photography. The director follows up three artists works, showing the different approaches to introduce the new Fiat 130. The first artist, John Braison, carries on his reportage up the desert Colorado mountains.; the second one, the Swiss Benny Trutman, shoots into his atelier working on lights and, finally, the third one, Franco Rubartelli, the most creative, puts on stage a kind of tribute to Fellini, combining big pasteboard 130 shapes with miniature models, often focusing on the exciting beauty of female models to convey seduction and dream. A tribute to industrial photography.