A movie set is an unreal, imaginary place, and portraying it means trying to hunt emotions and thoughts, catching the unexpected, the moment in which a sparkle of truth insinuate into fiction. “Portrait from a set” is a short experiment in truth Mario Amura brings on taking advantage of the invisibility granted to that strange figure of licensed thief of secrets and tricks of movie-making that goes under the name of “backstage director” on the set of “Caserta Palace Dream”, the James Mc Teigue last shot movie.. Orson Welles considered Vittorio De Sica the greatest film director of all times, marveling at his ability to make his camera disappear to reveal the image. And so Amura does: he doesn’t aim to make our eyes discover anything of what is in the “back” of the stage. Even the cast and crew, they are much more similar to a small “courtship” crossing the immense spaces of the Royal Palace of Caserta as a temporary intrusion of present time in what stands out of Time. On the contrary, he borrows the same perspective of the director’s eyes, but to betray it in some way, looking for the rare instants in which something happens beyond the staging.