Airflows guide the mountain’s expeditionary team, to the rhythm of the breath in its insides: the caves. A group of speleologists makes acoustic records to measure up the size of invisible hollow spaces, huge sound boxes. The Field Recording changes into a time-space odyssey that tunes historical episodes which are isolated but secretly bonded: the Renaissance representation of the caverns and its influence on the public parks of modernity, the hydrological studies of Martel the pioneer, the geographical institutionalization in Cuba where caves were thought as refuges for civilians during the Cold War, or the tourism industry taming centuries of geological erosion. The language of the expeditionary members mutates smoothly from one history to the other; the underground inspires the dissolution of the homeland that rules up in the surface.
In underground expeditions, the perceptual boundaries determine the sense of sight. Blinking is useless; light is not longer given. The ears listen in detail what is beating inside the bodies rather than the environment. The episodes’ structure of the film will be immersed in this mood confined by darkness and by the prevalence of the sense of hearing; a remembrance of the childhood’s bedtime story, when it is not possible to tell whether the tale comes from the outside world or from the subject’s subjective one.