Nowadays, Kazakhstan is experiencing the same euphoria as that of 60s and 70s booming Italy, a permeating feeling that Italy does not even remember today. Nevertheless, Kazakh growth is closely connected to the Italian economy. Kazakh economic growth, which is equal to 6% per year (a rate that Italy managed to reach only during the 60s), is mainly based on oil and gas mining. ENI plays a key role in Kazakh oilfields’ management and a large number of Italian people work in Kazakhstan, especially in the regions around the Caspian Sea, where this film was shot. In the film, as well as in the author’s own mind, the images of the extended Eurasian Steppe and those of the endless and neat spaces of post-Soviet lands interlace the images of 60s Italy, extracted both from ENI’s archives and from the private film clips shot by Andrea Segre’s twenty-year-old mother and father, who actually experienced the euphoria generated by the progress in Italy during the 60s. By travelling between Aktau and Astana, between the oil steppe towards the Caspian Sea and the hypermodernity of the new capital city, the film pauses and listens to the lives and the dreams of old farmers or shepherds and young women, whose lives have been deeply changed by the impact of oil multinational corporations on the Kazakh economy. Their stories converse at a distance with that of Italian men and women, who lived such emotions and hopes fifty years ago.