Is it possible to travel back in time? That’s the (relatively) straightforward question posed at the beginning of this understated, experimental work by the unnamed narrator. He has returned to his grandparents’ riverside cabin, where he spent his childhood playing on the shore and wading through rushing water to get to an island where he clambered up trees like a wild animal. Now, the homestead is overgrown and the island has sunk; dead branches reaching up to the sky are the only remnant of the past. So he constructs his own cabin, painted black with a single small window. In between musings about his childhood and family, he turns his camera on what’s left of his memories—decaying farmhouses, clocks stopped forever at 11:36:23—and on those who are on the verge of being forgotten: craggy shepherds and the last few speakers of the Basque language in the valley.
In this follow-up to The Search for Emak Bakia (DFF39), Spanish writer/director Oskar Alegria relies on imagery to turn his portrait of a memoirist into what could be viewed as a soliloquy on solitude, a philosophical treatise on the nature of time and memory, an archaeological study, even a natural history of birds. The audience is never really sure, and that’s OK—perhaps the filmmaker isn’t, either.
Oskar Alegria will be in attendance
Sponsored by Colorado Office of Film, Television & Media
Producer: Oskar Alegria | Editor: Oskar Alegria | Cinematographer: Oskar Alegria | Screenwriter: Oskar Alegria