Marco Valerio Amico, Rhuena Bracci and Roberto Rettura’s research on “live cinema” continues with this first movement that starts from a name, John Doe, which in US legal jargon indicates a person whose identity is unknown, as in the case of the discovery of a corpse. At the center of the scene stands a red armchair, a stylized remnant of a bourgeois interior, immersed in lights stolen from an imaginary “noir”. In this habitat there is a sense of emptiness and expectation reminiscent of the Raymond Carver stories, the dreamlike anxieties of surrealist cinema and the metaphysical solitudes of Edward Hopper’s painting. The action seems to unfold through paintings, where fragments of mysterious existences touch or intertwine. There is admittedly no kind of narrative, we proceed by visual assonances, it looks like a photograph in which we can only imagine what happened and what will happen to the characters who appear for a few moments. The theater of the nanou group is a place of pure presences, of bodies stretched beyond the dance towards uncertain boundaries, of environments, lights, objects, sounds, which form intricate labyrinths or apparently clear paintings, essential signs to sound alarms about our confused present, lost, in search of visions and lost in the seductions of images.