In this film, the director brings the Japanese technique of kintsugi (using gold tracing to recover fragmented, broken pieces) to the cinema, “piecing together” — with the parsimonious help of sound and a transhuman walk through the Basque landscape — some disparate but very personal elements: Oskar Alegría’s father’s Super-8 camera, two unused film reels and two pieces of footage stored, all intact after 41 years.