The “Il Bosco degli Abietti” project, has origins from a reflection on humanity and its habitat. The predestinated territory, where this narrative takes place, is the Belluno Dolomites (UNESCO World Heritage site). In the collective imagination, the mountain, is an happy place of peace of senses, new-born enthusiasm, dialogue with the absolute and with oneself. In art this had been well analysed, but we might say that the representation of mountain has stopped at the Romantic-Divisionalist period. Therefore, it is tempting to probe an alternative path, one that leads into the depths of the dark forest and allows a different kind of vision about mountain than the classical one. A vision that speaks about narrowness of thought, violence and loneliness undoubtedly caused by the closure of the valleys by these rocky massif that are the Dolomites. The research arise from a play on words: abito, abitare, abete, abietto, rovesciamento. Abito as dress, skin, but also as Abitare (living) in a certain place, that with a little modification becomes Abete (fir), woods, a fantastic and dark place. Abietto (abject) is one who severely deviates from a preconstituted morality, that leads to an alteration of upright phallic visuality, which therefore promotes a regression to wildness, to animal. But this does not lead to a distraction of the subject as such; through a subjective crisis, a metamorphosis, new possibilities are generated and these new possibilities enable the realization of this narrative. To overturn one’s own skin, one’s own dress therefore, to quote a great artist, to get closer to an idea of salvific wildness, to Zarathustriana loneliness, to consciousness, to the salvific mountaineer, the one who holds consciousness, freedom, whose mission is to make it discoverable to the people of the valleys. In this video the main character is extremely lonely. Taken from the folk tale of Om Salvarech, character of a mountain local saga, who manifests himself to bring us the knowledge that we needs. Therefore we spy vojeuristically on his private life, inside these two lodges. Nothing. Even in this case we don’t obtain an answer to existence. He or She, moves within the scene with no apparent task, nothing is suggested to us by the festive opening titles, Heidi's song, makes everything seem grotesque, disturbing. He walks to the lodges, looks at pornographic postcards, is alone, makes himself an invigorating coffee spiked with grappa, like a good mountain man. The boredom is so deep, the loneliness so pervasive, that there is nothing left to do but make a will. The memento mori has already been suggested to us anyway, no? Who knows what will be in bequest, and to whom, to us? Poor unconscious spectators? May the mountain commandments suggest this to us? A few reminders before leaving. Before disappearing. The wild man, disguised by the chamois fleece, is an outcast, living at the edge of country, from the violated identity, living excluded from the mountaineers even though he is one of them. Lost in his being in the world, he is external from the homologation that makes a caricature of all cultures and happily welcomes his exile. An expulsions of a foreign body by the country, by the world, by himself, and in this sacrifice he finds himself. What is also found is the stereotypical vision of the mountaineer, or rather: in the collective imagination there are two points of view of the mountaineer, on one hand the one that sees in him the one who lives in an harmonious assimilation with the nature and the landscape, as affable and willing to pass on and to show the thousand facets of the mountain; on the other hand, the vision that determines him as an ignorant savage, distant from culture and society. Unurban, uncivilized, abject. Remains the fact that his loneliness is not different from our own. Call him stupid, but he recognised and accepted it.