Antonio Cotroneo, a man in his fifties; in his Calabrian hometown everybody calls him Totó. For many decades he has been living in his chosen exile. Having subsequently married an Austrian woman and fathered four sons, the graduate political scientist earns his money as an usher at Vienna Konzerthaus. For Peter Schreiner's filmic close-up of the person Totó, however, these biographic data are hardly of any interest. Totó, the film, is rather a catchment basin for the principal character's thoughts and moods.
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