Jessica Kiang If we believe the adage that the wish to climb a mountain comes about just because it’s there, perhaps it follows, not to be too glib about it, that a cave explorer mapping a hole in the ground does so because it’s not.
Notions of absence — not just of solid ground, but of light and of life — as well as oppositions of up and down, ephemeral and eternal, high and low, infuse Michelangelo Frammartino’s “Il Buco” (“The Hole”), a docufiction that tenderly, wordlessly and rather too obliquely recreates a 1961 speleological expedition to measure the depth of an unexplored crevasse in Italy’s Calabria region.As the first beautiful image, in a film composed entirely of beautiful images, fades slowly in, lagging behind the sound of.
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