At the beginning of the film, our gaze follows images of what appears to be a silent forest. Gradually, we hear the sound of human voices; following that, we begin to follow a fireworks show, and then images of stuffed animals appear in this landscape, illuminated by the fireworks, as if they were disturbed by the show. With a slight zoom-in movement, we are invited to reflect on the mysteries posed by the faces and expressions of the animals. The work dialogues with the poem The Snake Eater (1901), by the Georgian writer Vazha-Pshavela, whose protagonist has a supernatural talent for understanding the language of nature. Referring to interspecies relationships, which lie beyond the reach of words, the film sequence seems to reveal a more activist approach: from the magic of the forest, listening to the hidden language and suffering of the animals to reconstruct the contrast between human and natural.
