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The cut given to Mani, shot in the year 2000, is unusual: no voice over, a few superimposed words which supply the key for the interpretation. The Qohèlet of the Bible, time, the making, the daring, traces of self, vanity, giving, loving, ideas, fragility, words which make us understand that the jointer plane, the lathe, the carriage and all the objects of the Carpenter Museum talk to us about man, about his eternal questions, about his anxieties, his hopes.Read moreLess
The cut given to Mani, shot in the year 2000, is unusual: no voice over, a few superimposed words which supply the key for the interpretation. The Qohèlet of the Bible, time, the making, the daring, traces of self, vanity, giving, loving, ideas, fragility, words which make us understand that the jointer plane, the lathe, the carriage and all the objects of the Carpenter Museum talk to us about man, about his eternal questions, about his anxieties, his hopes.
The story
The cut given to Mani, shot in the year 2000, is unusual: no voice over, a few superimposed words which supply the key for the interpretation. The Qohèlet of the Bible, time, the making, the daring, traces of self, vanity, giving, loving, ideas, fragility, words which make us understand that the jointer plane, the lathe, the carriage and all the objects of the Carpenter Museum talk to us about man, about his eternal questions, about his anxieties, his hopes.
Cast & crew
Explore the crew
- Director
- Alberto Cima
- Director of Photography
- Alberto Cima
- Writer
- Alberto Cima
- Editor
- Alberto Cima