GLASGOW FILM FESTIVAL 2020 - Stories from the Chestnut Woods
GLASGOW FILM FESTIVAL 2020
“This is a forgotten place. Nothing is possible.”
Gregor Božič’s debut feature film Stories from the Chestnut Woods portrays a decaying autumn on the Italian-Yugoslavian border. Set in the wake of World War II, local inhabitants of Slavia-Veneta find themselves on the divide between the East and the West. Due to poverty and political tensions, mass migrations begin, leaving Slavia-Veneta virtually abandoned.
Mario (Massimo De Francovich), a stingy carpenter and a competitive man too focused on his business, keeps missing opportunities to care for his loved ones. He befriends Marta (Ivana Roscic), the last chestnut seller, tending to the forests after being left behind by her husband. Mario tries to impart his old age wisdom on her, an act of redemption for failing others in his life. The two share memories of Slavia-Veneta’s past and contemplate their future, questioning if they should follow the others over the ocean, set against the backdrop of a melancholic autumn.
Božič’s film can be a challenging watch at times, as the theme of melancholy can read somewhat monotonous. The writing by Božič and Marina Gumzi takes the film on a meandering route as Mario and Marta get to know one another. As each character is introduced, their name and occupation is shown like a title card. De Francovich plays Mario as a frugal old man, preoccupied with his own self and unwilling to change his life. He is also a competitive character, playing morra at the local tavern and blatantly accusing the other men of cheating. Roscic’s Marta is different: she is deliberate and determined, knowing she wants to leave Europe behind but lacks the money. The two actors play off each other well as they reflect on their lives on the border.
Where the film truly excels is through its cinematography. Shot in 35mm, Božič brings poetic look into the autumn gloom. Stories from the Chestnut Woods is filled with pastel blues and purples set against traditional autumn colours, contributing to the somber tone of the forest setting. Overhead and centred shots of single objects are also used to convey the film’s sense of loneliness. In the opening scene, men are seen burying a chestnut harvest in a woodland grave. Chestnuts obviously become a recurring motif throughout the film, a symbol of Slavia-Veneta’s now distant past.
Stories from the Chestnut Woods is a leisurely look into a forgotten land and displaced people. Gregor Božič’s debut beautifully captures feelings of isolation as Mario and Marta reflect on their past and future. With its autumn tones, the film becomes a touching homage to times gone by.