A mix of fantasy, history, spirituality, and political engagement, Elvira Giallanella's film, Umanita (1920), is a sort of Carrollian 'through the looking glass' in which reality resembles itself but upside-down. In the immediate aftermath of WWI, Giallanella's film - a revision of Vittorio Emanuele Bravetta's 1916 children's story from 1916 children's story - both reflects and critiques gender roles that had been temporarily fissured by the war itself. A feminist position transpires in the juxtaposition of the pre-war male-authored text with the postwar female-directed film, further revised by men. An invaluable historical source, Umanita not only offers insight into a woman's and a feminist's perspective on the Great War and its aftermath but also sheds light on the moral, political, and philosophical atmosphere of destabilization at the time. Coming full circle, Umanita suffered from the very same revisions by the re-established postwar patriarchy, and by the end of the 1920s, cinema itself had been reclaimed as male territory, leaving the film lost amongst the debris. Umanita's resurfacing in 2007 allows us to reflect on the process of history-making in itself: what is omitted, what is included, and more importantly whose voices will be validated enough to be heard along the way. This instance - one amongst several - can serve as an example of how history is indeed a continuous process made up of (re)visions, and never a singular, univocal one.