While it might be hard to make a general audience care about something as rare and expensive as white truffles, The Truffle Hunters radiates a unique energy that permeates through the runtime, despite a lack of substantial material present in the film. The film focuses on a group of aging truffle foragers and their loyal dogs in Northern Italy. While there is also a narrative undercurrent of the truffle foraging practice becoming oversaturated and even potentially dangerous, the weight of the film rests on the shoulders of its quirky subjects, as watching these aging men and their companions traipse about the picturesque Italian countryside offers a great deal of enjoyment. Although, after the credits have rolled, it leaves a little to be desired. The greater point about a younger breed of truffle foragers running these men out of their jobs is mostly lost on the viewer, as that arc is much less developed than the foragers themselves, and the occasional scene involving the business-and-consumer-ends of the truffle industry feel fairly out of place, as they consume so little of the conversations and screen time of the film.
The film in subject feels very similar to the documentaries of the Ross brothers, as it contains no narration or subject interaction with the filmmakers, but, unlike the Ross’ films, has a very refined and cinematic look. This makes for an interesting contrast between the formalist style and realist content, with moments at which one crosses over into the other, such as the scenes where one of the dogs has the camera mounted directly on them, or where the old men enact obviously very staged conversations and actions for the camera. While a documentary that remains either entirely dedicated to one or the other, such as 45365 or Abbas Kiarostami’s Close-Up, may provide a more cohesive experience, the stylistic experimenting in The Truffle Hunters does not go unnoticed or unappreciated, as it is refreshing to see filmmakers Michael Dweck and Gregory Kershaw attempt to break free from the trappings of documentary conventions. While a bit scattered in both content and form, The Truffle Hunters manages to find moments of joy and interest in its subjects and keeps the viewers entertained throughout with occasional unconventional stylistic choice.
Score: ★★★ / ★★★★★
The film in subject feels very similar to the documentaries of the Ross brothers, as it contains no narration or subject interaction with the filmmakers, but, unlike the Ross’ films, has a very refined and cinematic look. This makes for an interesting contrast between the formalist style and realist content, with moments at which one crosses over into the other, such as the scenes where one of the dogs has the camera mounted directly on them, or where the old men enact obviously very staged conversations and actions for the camera. While a documentary that remains either entirely dedicated to one or the other, such as 45365 or Abbas Kiarostami’s Close-Up, may provide a more cohesive experience, the stylistic experimenting in The Truffle Hunters does not go unnoticed or unappreciated, as it is refreshing to see filmmakers Michael Dweck and Gregory Kershaw attempt to break free from the trappings of documentary conventions. While a bit scattered in both content and form, The Truffle Hunters manages to find moments of joy and interest in its subjects and keeps the viewers entertained throughout with occasional unconventional stylistic choice.
Score: ★★★ / ★★★★★
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