A generationn In 2011, the Italian artist Michelangelo Frammartino (Michelangelo Frammartino) A movie called “Four Times”, A metaphysical study of a mountain village, where there are goat calls, bells ringing, charcoal stoves and Roman centurions. Le Quattro Volte is quirky and gentle, and people generally like it. I’m not sure how much money a person makes from a small indie popular game. It may be enough to cover the expenses of the weekend holiday in Tropea. Now Framatino is back-10 years later, not wanting to rush-with the lovely Il Buco, another movie content to walk in the wild, gaze at the woods and the sky, the rocks and the trees, and find them there A peaceful, quiet paradise everything it sees. It is not entirely a documentary, but it is not entirely a narrative feature. It lives alone; the movie is like a hermit on the top of a mountain.
Framatino’s last film was inspired by Pythagoras. This is inspired by a pit cave exploration in Calabria in 1961, which drew a labyrinth-like cave system that was proven to be the third deepest cave system in the world at the time. The film shows a caver descending from its smooth twists and turns and found an old photo and a wet magazine with Kennedy on the cover. Anything that slips into a crack will immediately become history, or a lost memory; the remnants of people who have walked on it.
Il Buco tells the mission of speleologists in a contemplative and calm way. But it connects this to the decline of the ancient peasants who lived in the hut near the cave. Framatino showed the man sitting patiently on the mountainside, calling his herd as if speaking in tongues; and then again, later, he fell ill in bed while his middle-aged son kept an anxious watch. Essentially, Il Buco compares the time deep in the cave with the shallow time of the people around it. If the weather-beaten farmer was one day old, he would be 80 years old. But in geological terms, this is just a blink of an eye.
In all the noise and anger this year Venice Film Festival Sitting with Il Buco for a while, watching the old farmer, the young caver, and listening to the wind on the trees, it was a pure pleasure. I am not sure if I can fully explain it. I don’t believe this is important. Framatino conducts his business in the manner of a cautious anthropologist: little intervention, content with simply setting up a camera and watching people and animals pass by, as if observation itself is a great privilege. This is likely to be. This reminds me of a brief archival footage at the beginning of the film: a story about a window cleaner in New York, who boasted that he loves his job, because it gave him the opportunity to see all the hard-working people through the glass of the office building—— Either you don’t know, or you don’t care that he is actually working.
