Abbandono (1970)

“…Nekes retreats behind his film. What is left is a double portrait, in which neither Dore 0. nor the grand landscape remain unchanged. The cold of the icy coastline – long shots of stones, snow and the sea – dwindles away before the image of Dore 0. Solitude is superflous, when the grandiose mountain meadow invites somersaults. … In this case Nekes handles what he shows considerately. He releases the objects he portrays. He allows them to unfold. And so model and patterns actually serve another purpose: to let poetry grow, and energy and beauty and confidence nell’abbandono.”