This film rather appeared to us like a dream, not a nocturnal dream, but one which unfolded day by day while shooting.

"I have already been/a bush and a bird/ a boy and a girl / a mute fish in the sea." (Empedocles, Purifications) This film is based on documentary material but is not, strictly speaking, a documentary film. Nor it is a work of fiction. The film rather appeared to us like a dream, not a nocturnal dream, but one which unfolded day by day while shooting. A dream shared between the photographer-director and the actress (or, better, the woman portrayed in the feature), which nevertheless seemed to follow its own, enigmatic necessity through which the daily shots joined almost magnetically, interweaving in a pattern of superimposed layers that unceasingly merge and dissolve one in another, in the constant flux, crystallization and reshaping of psychic interior. At a certain point, this dream seems to end but in fact it only opens up to another dream, or hallucination, where the film itself abruptly starts to burn, unleashing new and old visions, fragments of reality, until it is put out by a sudden storm and dissolves in a twilight of sea-waters. In this sense, the film is also a meditation on the elements, chiefly Water and Fire, about a sun-eye that appeared by itself in one of the first shots and took possession of the narration, in the endless flow and unfathomable metamorphosis of all things and beings.—Cesare Bedogné