In other words, the perspective of the film is no longer human, but a different, superior, cosmic one, of which all nature takes part. Man’s point of view remains that of a limited consciousness within another wider consciousness, similar to that of a dream within a dream.
This awareness of the existing corresponds for the girls to the climbing path of the rock, a labyrinthine path with almost initiatory nuances, immersed in a nature that seems to indicate to them a questioning on their own perception of identity in favor of a perception of oneself as part of a larger and timeless whole. An asceticism gradually leading them to adopt a new perspective, from above and for the other.
Approaching the summit, the encounter with nature becomes a loss of oneself, of one’s individuality, the end of individual existence as we know and perceive it and discover of that dimension common to plants and animals.
On the almost pagan notes of a flute begins a dance with a mystical flavor, where, through the use of slow motion and fades, the girls seem to overlap and blend in with each other; and above all merge also with the earth itself, the sky and sun.
The disappearance of the girls that does not and will never find a rational explanation gives us the opening to a different, wider perceptive logic. Not by chance in fact, this moment in the film will mark the decline of the authority of Mrs. Appleyard, custodian and advocate of a culture questioned by everything she has always removed: chaos, violence, sex and emptiness.
Nature as a protagonist has now imposed its superior logic which escapes human understanding exactly as the mystery of life and death eludes us.