[6][7][8] In 1977, two important encounters occurred in Martini's life: the first with Charles Aznavour, with whom she began a musical collaboration, and the second with singer-songwriter Ivano Fossati, with whom she started an artistic and sentimental partnership.

[12] Martini also caught the attention of Lucio Battisti, who expressed his admiration for her unusual vocalism and asks her to be in his TV special Tutti insieme, in which she sang "Padre davvero" in its censored version.

Destined, in fact, to the band I Camaleonti, the song was instead presented by Martini at the festival Pop, Beat, Western Express in London on 26 May 1972 and was played numerous times on the Italian radio show Alto gradimento.

In September Martini also participated for the first time in the Mostra Internazionale di Musica Leggera in Venice with "Donna sola", a song with strong soul influences.

The lyrics of "Minuetto" were written after attempts made by Maurizio Piccoli and Bruno Lauzi, who had tried in vain to make a convincing draft, and ultimately contacted Franco Califano.

In the recording room for the choir, there are Bruno Lauzi, Maurizio Fabrizio, the band La Bionda, Loredana Bertè and Adriano Panatta (at the time in relationship).

[22] On 29 April she finished recording her album È proprio come vivere, which includes the song "Agapimu" ("My love"), whose lyrics are in Greek, written by herself, Gianni Conte and Dario Baldan Bembo.

Later, the record company RCA, the Roman label that had launched her career five years earlier, proposed a contract to Martini that gave more freedom to choose her repertoire.

For the launch of the album, the national TV Rai produced a special in color with the same name directed by Ruggero Miti, and broadcast an exclusive concert on the radio.

The record company requests and obtains not only the withdrawal from the market of her new LP (which was temporary), but also and above all the seizure of all the artist's assets and earnings, as well as the payment of a high penalty, for the amount of almost 90 million lire of the time.

The album Per amarti also included the track "Ritratto di donna", with which Martini participated at the World Popular Song Festival in Tokyo in 1977, placing second and winning the Most Outstanding Performance Award (MOPA).

However, after the month of reruns, Martini renounced the renewal of the contract to bring the recital to England, at the Royal Albert Hall in London, to stay with her new lover Fossati.

Her relationship with Fossati led Martini to choose only projects that interested her, regardless of potential prestige: "Over the years I ended up being identified with the type of a sophisticated singer for selected people, who sang at Olympia and who seemed to snub the audience that had given her success, to seek who knows what higher goals ..

"[28]In 1981, after a year of silence following two difficult surgeries at her vocal cords (which changed the sound of her voice in a more hoarse and less extended timbre), Martini decided to present herself as a songwriter and took on a more discreet and androgynous look, far from the eccentric one of the seventies.

A radio and television programmer, who is working on the realisation of a summer show for the network, has clearly told my record company that it is much better that I stay away from his crew, because I bring bad luck.

"[29]In 1982, Martini competed for the first time at Sanremo Music Festival, where she sang a song written by Ivano Fossati, entitled "E non finisce mica il cielo".

A growing smear campaign, started ten years earlier, linked her presence to negative events and identifies her as a person bringing bad luck.

To the choirs of "Big Yellow Taxi" by Joni Mitchell, there are her sister Loredana Bertè, her vocalist and friend Aida Cooper, Cristiano De André and Ivano Fossati.

The following year, the record company DDD again attempted to revive Martini's career by trying to get her to participate at the Sanremo Music Festival with "Spaccami il cuore", track written by Paolo Conte.

The B-side of the single was a track Martini wrote called "Lucy", which in the refrain uses an ancient rhyme from Bagnara Calabra (her native hometown): a prayer not to hate one another and not to move away.

Marginalised by the music sector and visibly tested also by the end of her relationship with Fossati, Martini retreated to the Umbrian countryside, renting a flat in the small village of Calvi dell'Umbria.

To make up for the considerable economic problems caused by her debts from the disputes with her previous record labels, she continued to perform in small gigs in provincial towns.

[46] In the same year, she held twelve concerts in which she re-proposed pieces from her own repertoire and from other songwriters in a jazz version ("Vola", "Pensieri e parole" by Battisti, "Gente distratta" by Pino Daniele and other classic songs).

The album, her last one, was titled La musica che mi gira intorno, in which she reinterpreted songs by her favorite authors, who wrote those tracks "in a moment of great love, or great frailty": among them "Hotel Supramonte" and "Fiume Sand Creek" by Fabrizio De André, "Mimì sarà" by Francesco De Gregori, "Dillo alla luna" by Vasco Rossi, "Tutto sbagliato baby" by Eugenio and Edoardo Bennato, "La musica che gira intorno" by Ivano Fossati and the unreleased song "Viva l'amore" by Mimmo Cavallo.

The album was the first of a series of projects based on the reinterpretation of various authors and musical genres, which the artist did not have time to work on: from the Neapolitan classics to the more modern ones by Pino Daniele[52] and tributes to Tom Waits and Billie Holiday.

Mina, a few months after Martini's death, was the first singer to dedicate a recording tribute to her in her album Pappa di latte, which included a personal cover of the song Almeno tu nell'universo.

At the end of a concert, Martini decided to rest and traveled to Cardano al Campo, Varese, where she had rented a small apartment near her father's house as their relationship had improved over the years.

The singer's body was found lying on the bed, in pyjamas, with the headphones of a portable cassette player on her ears and with her arm stretched out towards a nearby telephone, with an address book open on the floor.

In May 2009 Loredana Bertè, in an interview to the magazine Musica leggera,[59] returned to talk about her sister's death, casting a shadow[clarification needed] on the role of the father in the affair.

The film narrates Martini's life, including her artistic career, her tumultuous relationships with her family, her sister Loredana and the discrimination she endured by the music system and her colleagues.