8 February 1951, in an Italy dazed by the heady fragrance of the flowers in the song taken to Sanremo by Nilla Pizzi and by the Vanoni act, the first to render tax declarations mandatory, the film Miracolo a Milano, the fifth cinematic endeavour by the celebrated duo De Sica-Zavattini, is released. 
Critics deem it «the least personal of Vittorio De Sica’s films». A work – as progressive politicians lament –that is cloyingly consolatory or, according to the conservatives, brazenly subversive. However, despite all the hasty criticism, the adventures of Totò and Lolotta, and of Edvige, Brambi and Mobbi, with their improbable court of angels and down-and-outs, gradually work their way into the hearts of spectators, never to leave. 
Seventy-five years on from its first appearance on the silver screen, Claudio Longhi and Lino Guanciale, with the dramaturgical support of Paolo Di Paolo, invites audiences to look back at this unforgettable “wonderful tale”, – «which gave us false hope in the past and does so today» – to gaze into the tarnished mirror of this fantastic era, with its magical realism, and seek out our truest traits, the most deep-set foundations of our emotions. What is a miracle? 
A tribute to the Milan of the past and the present; to its legacy, the wealth of images it conjures – exploited, unexpressed, burned out? – and to the human complexity that every city expresses through its population. Humanity that is flesh and blood, thought and emotion, fable and history, ready to take to the sky on a broomstick, fleeing from history towards eternity.