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A Visual Ode to a Hare in the Woods - featuring Massimo Bottura

From the beginning of time, to the creation of a dish, a Visual Ode to a Hare in the Woods (in six acts) takes the audience through a visionary journey inside of what is the essence of one of Massimo Bottura’s most controversial dish.
The story starts from the idea of space, the absence of everything that gets transformed into a first solid matter, from there the film moves across different eras that resonate with the distinct flavours of such a complex and layered dish. Here the raw ingredients live in a constant state of transformation almost beyond time and space.
The film takes inspiration from the sixteenth century paintings as well as contemporary art, depending on the various aspects that characterise this dish, and it culminates with Massimo Bottura’s creation as a piece of art that doesn’t necessarily need to be explained.

  • Andrea Marini
    Director
    Art of the Prank, Ferrari 312B
  • Andrea Marini
    Writer
  • Antonella Scoliero
    Producer
  • Massimo Bottura
    Key Cast
  • Project Type:
    Experimental, Short, Other
  • Genres:
    Experimental, Artistic
  • Runtime:
    4 minutes
  • Completion Date:
    May 1, 2019
  • Country of Origin:
    Italy
  • Country of Filming:
    Italy
  • Shooting Format:
    Digital, 4K, Phantom
  • Aspect Ratio:
    2,39:1
  • Film Color:
    Color
  • First-time Filmmaker:
    No
  • Student Project:
    No
Director Biography - Andrea Marini


Andrea Marini was born in southern Tuscany in 1984. From a young age he has been passionate about movies, and began shooting amateur shorts. During High School he studied photography, cinema, advertising and graphic design, building his foundation in the visual arts and storytelling. In 2004 he moved to Rome to study Film and Television at Cinecittà, determined to achieve the goal of being a film director. His professional directing career began in 2007 working mainly in advertising and music videos. In 2011 he completed the short film “the Noise of Snow” which won multiple awards in several international Film Festivals. He continues to work in advertising, directing a wide range of ads. In 2016 his first feature documentary film “Art of the Prank”, film about the life of one of the greatest media pranksters of all times, starts to win awards in many film festivals such as Slamdance, San Francisco DocFest, Lower East Side FF and many other, in the same year the film gets distributed worldwide. In 2017 his second feature documentary, a movie about a F1 Ferrari car from 1970 (Ferrari 312B) gets released theatrically around the world and then on TV, VOD and Home Video. Curiosity is at the basis of his current work as he keeps exploring different ways to communicate with the audience.


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Director Statement

Bottura’s extraordinary ability to make art so predominant in his creations raised the bar since the very beginning. As a director, to approach a visual transposition of a dish that is so permeated with art is an incredible challenge and made this project one of a kind for me.
I looked at the creation of the Camouflage through an “extremely powerful microscope”, where I was able to look inside the matter and beyond, to the abstraction of an idea that doesn’t need to respect the laws of physics.
The juxtaposition of flavours is a predominant idea in this dish, when I first tasted it my palate was able to make a perfect distinction of each flavour in the right order. This experience culminated in what was to me the most audacious and successful combination I’ve ever tasted.
This distinction is made clear in the film by the use of acts, every one has a precise connotation that evokes different emotions.
Another significant element that lives in the dish as well as in the film is Massimo’s main inspiration for his creation, and that would be Joseph Beuys’ “How to Explain Pictures to a Dead Hare”. With this art performance Beuys ultimately says (to put it in a very simplistic way), that the theory behind a work of art is not necessary for the work of art to be understood. This is why I decided to make a film that could resonate more with our inner senses rather than our organs. Same goes for the depiction of what is essentially a recipe, it would make no sense to me to build a realistic environment around the story.