Over hill, over dale,
Thorough bush, thorough brier,
Over park, over pale,
Thorough flood, thorough fire,
I do wander everywhere,
Swifter than the moon’s sphere;
And I serve the fairy queen
William Shakespeare’s A Midsummer Night’s Dream
High in the mountains along the Amalfi coast of Italy is a hidden valley with a beautiful waterfall. There, in a tiny hermit’s house with moorish domed roof, lives Vali: beautiful, way-out, painted like Paupin, dressed like a gypsy, with the wisdom of a shaman or a witch. Her Celtic heritage shows in her flaming red hair and green eyes, transposed with an Australian accent. An intense, free child of nature, she is followed by a pack of dogs like Artemis or Diana while roaming the steep cliffs of the valley, hunting for berries and herbs, tattooing in the sunlight a young girl dressed in goat-skin pants who lives in a nearby cave, and making amulets for a love-sick girl who finds her way up the mountain. Weaving dreams, casting spells, Vali is magic.
Write up on the back of Witch of Positano (1965), directed by Sheldon and Diane Rochlin
Sometimes we caught sight of tattered knee socks rounding a corner, or came upon them doubled over, shoving books into a cubbyhole, flicking the hair out of their eyes. But it was always the same: their white faces drifting in slow motion past us, while we pretended we hadn’t been looking for them at all, that we didn’t know they existed.