Freak and Jajà live in a no-man’s land, outside time and dates. Mankind no
longer inhabits the planet. Only a few strange characters, survivors, make
The two main characters meet at a bus-stop in the middle of no-where, they
have never met before. The bus arrives, but it doesn’t stop. It’s the bus
which brings to GODOT, the God who makes his presence felt beyond the
mountain in the shape of a musical sound. Having lost the bus, Freak and
Jajà decide to look for it on foot.
They start on a journey which will make them meet the bizarre characters
who live in this land.
They find a mariachi storyteller, two actors reciting Adam and Eve in the
middle of a salty lake, a child who appears to be the ‘magic’ voice of Godot,
an oracle who lives on the extractor well of an abandoned mine, and finally a
solitary girl who lives on a beach.
Unfortunately, before the end of their trip, Freak and Jajà will die. They fail to
reach their God.
DIRECTOR BIOGRAPHICAL NOTE:
“BEKET” is the third chapter of my trilogy on Cinema of solitude.
The first chapter is the short film “BOMBAY: ARTHUR ROAD PRISON”, winner of the ‘vela
d’Oro’ in Bellaria (1999), it talks about prisons. The second is my feature, “GIROTONDO,
GIRO INTORNO AL MONDO”, it talks about being cast out. This third act talks about the
absurd nature of existence. All three films are in black and white.
‘BEKET’ is about the need for self-expression, freely, with no self-censorship. The project
takes shape together with producers Bruno Tribbioli and Alessandro Bonifazi from BLUE
FILM. It is an old-fashioned film, very cinematographic.
In order to have this freedom, it has been necessary to think of a small production, agile
and quick, which could also contain costs, having to work independently, being selfproduced.
The idea of linking to the isolation of Beckett’s world, starting from ‘Waiting for Godot’,
harmonizes well with the ‘poverty’ of the production and the ‘wealth’ of contents.
The film is shot entirely in exterior during the day. With director of photography TAREK
BEN ABDALLAH (the director of ‘Giro di Lune’ by Beppe Gaudino) we decided to film in
super 16, to be ‘purists’, no artificial lights, only the camera and the tripod. A ‘hard’ and
‘strong’ film like the Kodak 80 ASA b/w was chosen, allowing us to obtain the result we
The region of Sardinia was picked for its magnificent landscapes, untouched by man, and
for its splendid and necessary sunlight. Locations for filming were: Gallura, Cabras,
Montevecchio mines, and the dunes of Piscinas in Sardinia and the plane of Castelluccio in
Umbria. Filming took 13 days, with a crew of 10 people.