Soundtrack constantly obsessive: the voyage to the island, the color of memories, the landing, the black/white of real time, the sand, the seaweed, the animated bark, the sea, the reflections, a whirlpool, the treasure.

Treasure Island was shot at La Isla de la Juventud, Cuba where Robert L. Stevenson's novel takes place. In the case of our film, the treasure is a joining of hands, white and bloodless like those of ghosts. It's hands/bodies - bodiless bodies - joining after a hallucinatory journey towards the island.
But the joining is, at the same time, a separation, like the endless back and forth movement of the seaweed in the shallow waters.
In the end, joining equals separation, at least in intensity.

On purpose, the soundtrack is an out-of-synch of nature. The background noise is obtained mixing wind, sand whirls and so on. It's the persistence of noise, the obstinacy of a variation on different sounds of Mother Nature underlying the strength of an obsession.

This is the final version of the film which, at first, was some five minutes longer, containing, at the beginning, scenes shot from an airplane, documenting the arrival at the island and some views of the Fidel Castro jailhouse. We later chose to cut that part in order to increase the intensity of what we consider the core of the film ("Il cuore dell'enigma.").