Palermo, 15 December 1956. It is Sunday and the Tocco family spends serene moments at home, between preparing lunch in the kitchen, tasting the food being cooked, bustling around in front of the capacious refrigerator, which apparently stores every delicacy, the news on the radio and in the newspaper. Combing one's hair in the bathroom and sampling the sun on the balcony. Father, mother and grown-up children together on this day with the irreplaceable camera. The 'home sketches' are such a prominent feature of Tocco's cinema that they are expressly mentioned in the titles. They are prepared with great care, and the whole family is involved in the staging. The punctilious and precise filmmaker Nicola, a Catanese transplanted to Palermo who works in a bank, his wife Cettina, his sons Massimo, the eldest son, and Elio. Massimo, who will follow in his father's footsteps both in the bank and behind the camera, will say many years later that these 'are above all beautiful, irreplaceable memories' that provoke 'nostalgia for people who are no longer with us, serenity for what concerns me'.