Through a discussion of Susanna Nichiarelli’s La scoperta dell’alba (The Discovery of Dawn, 2012), the article contends that historical films that do not centre their narratives around the homosocial and heterosexual male-quest, even if employing a conventional cinematic style, allow us to rethink national histories, trauma and contested memories, as they shift the focus to female subjectivities that are often marginalised in Italian historical films. Specifically, the discussion of Nichiarelli’s La scoperta dell’alba focuses on the complex role of victims in interpreting the legacy of the anni di piombo and on the processes through which the interplay between mourning and melancholia fosters the emotional agency that is necessary for dealing constructively with the experience of loss.
