The paper is organized in two parts, both devoted to the exploration of immersivity both in a genealogical perspective and through the analyses of a paradigmatic object such as the film Il buco by Michelangelo Frammartino. The first part consists in a theoretical reflection on a possible, and hitherto neglected, genealogy of the idea of immersivity to be found in the context of the art criticism of the 1960s and particularly in the well-known article by Michael Fried Art and Objecthood. The paper explores Fried’s definition of anti-theatricality and his discussion of the objecthood of the minimalist art. The second part proposes the analysis of the film Il buco (The hole) by Michelangelo Frammartino, a paradigmatic object for the question of immersivity theorized by Fried, which, however, is neither coeval with that theoretical reflection, nor homogeneous to the objects it explores.