Her violent detachment from her husband throws her into deep mourning that prevents her from working and challenges her relationship with her mother, also a long-time widow, even more difficult.

Antonia receives personal objects from Massimo's office and discovers a painting, The Ignorant Fairy, with a declaration of love on the back.

An ambiguous friendship is established between the two, through which Antonia comes into contact with the colorful community to which Michele belongs: gay friends, a transgender woman, a Turkish refugee, the Turkish singer Emir and a true Neapolitan woman; a kind of extended family that lives in the attic of a public building located in one of the most characteristic neighborhoods of Rome, Ostiense.

Antonia begins to interact with the group constantly with the excuse of assisting Ernesto, a young friend of Michele's, who's HIV positive.

Through the contact and impact with the reality represented by the group, mitigated by sharing the memory of Massimo, Antonia undergoes a process of personal maturation and liberation from her previous routine.

The director Ferzan Özpetek, born in Turkey in 1959, and who has lived in Italy since 1976, created The Ignorant Fairies to portray the theme of homosexuality, which he deeply felt on a personal level.