The film has a great rhythm typical of the stories on the road, but the really interesting aspect is the centrality of the photographic subject.
The photo was chosen as the dominant expressive language, with suggestive landscapes of Iceland and of Afghanistan that hypnotize the viewer with their extreme beauty.
Scenographic work phenomenally tied together different atmospheres and environments, managing to provide visual cues and signals required the Viewer to go into the most secret and personal dreams by Walter.
But photography, Stuart Dryburgh, is not treated as a visual medium, but also as a film that passion is still blocked and limited by the struggle between analog and digital.
In fact, human nature is always looking for progress but also of nostalgia and affection for the past: on one side we find the need to look forward and to ride the trend and the latest technologies, on the other hand collect vintage clothing, vinyl records, old bikes.
The film seems to suggest, then through the photo, a double reflection: on the one hand, that it is essential to be able to dream is not to stop even before the vastness of places; on the other hand it is important to recognize in society, but rather it is essential to have an “analog” thinking in what is today’s “digital world”.