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“I would have given you a century, a year, two hours / But maybe you deserve a better time”
These verses speak of a future that exists only in the imagination, in a story in which time is the protagonist. It is the time that has not been lived, that of a mother who would have liked to give her child a life made up of shared moments, experiences and daily gestures. That mother is Giulia Tramontano, and in the song “Migliore” the Pinguini Tattici Nucleari tell the story of her femicide and of little Thiago, the son she was carrying in her womb and who never came to light.
On May 28, 2023, Alessandro Impagnatiello, a thirty-year-old from Sesto San Giovanni, went to the police to report the disappearance of his partner, Giulia Tramontano, who was seven months pregnant. The girl’s family is immediately alarmed: none of them, especially her sister Chiara, believes that it could be a voluntary separation. Something has happened to her, her family are certain of it, and they fight with determination to reach the truth, in the hope of being able to find her again. The last contact dates back to the evening before, when Giulia wrote a message to her mother to let her know that she was going to rest. Since then, his phone has been inactive. Giulia is twenty-nine years old, originally from Naples and lives in Senago, where she moved to build a life with her partner. The two are waiting for little Thiago: it won’t be long before they will become a family.
“I would like to teach you swear words that you shouldn’t say / In the little time left before your time no longer exists / I would like to teach you how to stay out late, you know, maybe with friends / While I wait for you late at night on the sofa in the company of the TV”
There are only a few months left before Thiago is born. The song imagines Giulia’s thoughts, her desire to know the child she carries inside her, to live everyday life with him. In the song, Giulia dreams of teaching him new words, waiting for him up in the evening, accompanying him as he grows: they are simple images, but for this very reason devastating. They tell us everything that a mother should have experienced and that was taken from her even before her child was born.
Giulia is nowhere to be found, and the investigations begin to reveal a very different reality from the one Impagnatiello told the investigators. The young man claims to have seen her for the last time that same morning, on the bed in their room. Yet, something doesn’t add up. During the investigation, it emerges that the young man provided a non-existent address during the searches, and that behind the relationship with Giulia lies a parallel relationship with another woman. To her, Impagnatiello tells a distorted version of the story with Giulia, describing her as an unstable and problematic person: a narrative built over time to belittle her and to justify the fact that he continued to be with her. Giulia, however, had discovered the betrayal and, according to what emerged, had expressed her intention to terminate the pregnancy, moved by the fear of finding herself alone. Impagnatiello would have opposed it, preventing it. The same person who in the following months administered poisonous substances to her in an attempt to cause an abortion. A detail that makes the case even more disturbing, and at the same time a contradiction that is not accidental, but fits into the framework of Impagnatiello’s manipulative attitudes.
“Little woman, walking among the stars / showing the wounds you hide between your skin, there are thirty-seven”
The investigations reveal more and more clues that lead to a practically certain culprit. Traces of Giulia’s blood are found in Impagnatiello’s car. The surveillance cameras record the girl entering the house, without ever leaving again. The young man, however, is filmed moving near the apartment, carrying a bag and some sheets. Pressed by the evidence found, Alessandro Impagnatiello confesses to having killed Giulia in the house where the two lived together, on the evening of 27 May 2023, stabbing her with thirty-seven stabs.
“But the world has decided for us / that we are two victims of the sign of then / the clouds set, but the sun will remain / because you deserve a better day”
These words carry an enormous weight: hindsight is that awareness that always comes too late. And this is exactly the trap in which victims of femicide often end up, when the signs only become evident once it is too late to act. In Giulia’s case, the trial reconstructed a long sequence of lies and manipulations. A double relationship maintained over time, a narrative constructed to discredit Giulia in the eyes of others, attempts to manipulate both women by convincing them of non-existent realities, and to hide the truth until the moment in which the violence became impossible to hide. In November 2024 Alessandro Impagnatiello was sentenced to life imprisonment, with the aggravating circumstance of premeditation recognized. In June 2025 the sentence was confirmed, but the aggravating circumstance was excluded. In the appeal process bis, the premeditation is then re-evaluated and, on 26 October 2026, recognized again.
“You sleep, child, I would have given you the name of a long path / what a strange fate to leave in May like two strawberries”
The month of May, which should have accompanied the last period of waiting and brought Thiago closer to life, instead became the time of loss. Their destiny ends too soon, before it has even begun, leaving room only for the memories of those who loved them and a story that has profoundly affected Italian public opinion.
“Suddenly the child understood / that the darkness ended in a lullaby / the mother held him and so / she finished being a mother and began to be a mother”
The song ends with an image that is impossible in reality, but made eternal by music: that of a mother who finally manages to hold her child. It is an image that does not change the story of Giulia and Thiago, but tries to give a face to everything that has been lost. Because behind a legal case made up of dates, evidence and sentences remain two lives interrupted too soon: a woman who should have become a mother and a child who should have started his journey. “Improve” it doesn’t just tell a tragedy. It tells of the time that is missing, the time that no one will be able to return, but which continues to be remembered through music.