‘Trifole’ Review – Humanity Is The White Truffle

There is a hidden beauty in cinema about rural towns and overlooked lives. People who have chosen to step away from modernity, closing their small, shell-like worlds, are becoming compelling subjects for filmmakers worldwide. In Trifole, Gabriele Fabbro depicts a world of truffle hunting, a lonely old man, and a young woman discovering herself in the stunning Piedmont region.

Dalia is a young girl sent by her mother to care for her ailing grandfather, Igor (legendary Italian actor Umberto Orsini). She finds herself drawn into the mystical world of his truffle-hunting adventures. Although the enchanting world of truffle hunting in the forests of Piedmont is real, the characters that form the film’s narrative are partly fictional. Fabbro’s direction—alongside co-writing credits with rising star Ydelie Turk, who plays Dalia—creates a magical universe where life feels nomadic and whimsically simple. Farming and foraging are pinnacles of a small-knit community, surviving on the simplest of lives, where memory and tradition shape the destiny of its inhabitants, the keepers of sacred secrets for once to be extinct professions.

Igor struggles with the digitization and industrialization of the world. His presence revolves around his truffle hunting glories and his cute dog, Briba. Orsini plays him with such vulnerability that makes the heart break, but viewers can burst out laughing at other instances when he is struggling to adapt to changes around him, especially in his relationship with his granddaughter or Briba. But Dalia represents the confusion of the new generation, growing up in vast uncertainty, unsure of what dream to hold on to and whether that dream is worth striving for or abandoning altogether.

When her grandfather’s world is threatened to crumble, Dalia finds herself at a fork in the road. Either she turns her back on the whole story, or paves the way for a new passion—her grandfather’s skill and craftsmanship. It is through Igor’s fervent, undeniable passion for the land and his vocation that Dalia starts to find footing. She digs in her generational roots to retrieve forgotten memories and lost places within her, not just of the language but the sensation accompanying it. She goes out on a hunt for the rare lightning-struck white truffle, which she could present at the fair and get a hefty prize that would allow her to save her grandfather’s house, allowing him to keep his precious little world intact.

Unfortunately, Turk’s acting and screen presence are nowhere near the same level as Orsini’s. Yes, she is still in the beginning of her acting career, but that disparity between her acting and Orsini’s veteran performative status leads to a bit of an uneven rhythm in the film’s pace and continuity. She doesn’t make Dalia a compelling enough character to follow, especially during the quieter, more subdued moments.

As a cowriter, though, Turk is brilliant. Her script, alongside Fabbro, captures the little moments with precision, creating a humanist fairytale in the heart of the Italian landscapes. The story reaches its climax when Dalia herself embarks on the white truffle–a rare breed of truffles–hunt deep in the woods. Yes, the film takes a while to get there–too long for my liking–but when it does, it is worth the wait. Dalia’s journey is both enjoyable and heartwarming, one that would make Joseph Campbell proud. 

Trifole tests the audience members’ patience for the art of appreciating small, cozy films. Although it lags at times, its peaceful lasting effect makes up for the dull moments in between. It’s a multigenerational drama that weaves in stories about passion and finding one’s identity and place in the world against the backdrop of the alluring Langhe.

Trifole is currently playing in select theaters courtesy of Cohen Media Group.