As a film enthusiast with a penchant for understanding the creative process behind visually captivating stories, I find myself deeply intrigued by the tales woven around these songs. Each director seems to have tapped into their unique life experiences and inspirations to bring these stories to life.
Stanley Kubrick once expressed that a movie ought to resemble music rather than a story. It should be an evolving sequence of atmospheres and emotions. The underlying idea, the significance, everything related to interpretation should follow afterwards.
On Friday night, the Oldenburg Film Festival and the Brussels-based musical duo Pornographie Exclusive will present a unique event: the world premiere of an anthology film titled “One-Way Ticket to the Other Side” at Oldenburg’s State Theater. This special show will also feature a live performance by Pornographie Exclusive (PE).
The organizers pledge to guide participants on an “adventure exploring the intricate mazes of the human mind.
The production team for PE includes Séverine Cayron, an actress and dubbing specialist known for “The Belgian Wave,” and Jérôme Vandewattyne, a writer, director, and cinematographer recognized with the Audacity Award in Oldenburg for his film “The Belgian Wave.” This movie, a psychedelic drama set during the early 1990s when there was an increase in UFO sightings in Belgium and the country was diagnosed with a collective psychosis, pushes the boundaries of modern cinema. Influenced by the festival atmosphere, Vandewattyne and Cayron collaborated with Oldenburg fest director Tobias Neumann and his partner, Canadian actress Deborah Kara Unger (“The Game,” “Thirteen,” “Fear X”), to create an anthology film.
The result is One-Way Ticket to the Other Side, made with short films that are contributions from PE themselves and 10 filmmakers and Oldenburg alumni who were each inspired by one track from the band’s debut album. The not-so-blockbuster budget for each film contribution: 100 euros ($110).
The Oldenburg refers to the movie as “an artistic, melodious, and dreamlike adventure tracing the path of two enigmatic figures wearing masks – stoic bandits with a secretive background – who meander through a realm on the brink of conclusion and renewal, straddling the line between sleep and wakefulness.
On Fridays, we’ll be blending live music performances with independent films in a unique presentation. This event will showcase an “unconventional musical collection,” which is characterized by its punk spirit and free-spirited nature. The music here doesn’t stem from the journey but instead, it shapes the narratives.
As a passionate admirer, I invite you to delve into the insights provided by the talented directors behind each installment of this anthology. Here’s what they had to say about their unique creations:
A Party in Tears by Guillaume Campanacci
“The first time that I heard ‘A Party in Tears,’ I felt violence surrounding me. A carnal reaction. The lyrics made me turn a beautiful French new wave boy-meet-girl into a nightmarish cannibalistic boy (m)eat girl. ‘Share with me, the demons that you hide.’”
Under the Black Sky by David Gregory
“I wanted to have some fun doing a throwback to classic era music videos by using homage, pastiche and testing out of digital effects while drawing on my passions for old exploitation cinemas and still standing cinema buildings, the people behind these enduring classics and a smattering of absurd and occasionally gross imagery all with the indispensable help of veteran Euro cult actress Geretta Geretta (Demons, Rats) and VFX wizard Kyle Broom trying out some delicious new goopy visuals.”
I discovered a deep feeling of melancholy – contemplation and introspection – encapsulated within the work titled “Electric Blue,” which resonated deeply with me, particularly as a filmmaker. Alone amidst the evocative structures of Old Montreal, immersed in the haunting tune playing repeatedly in my earphones, it didn’t take long for the story of the girl named Electric Blue and the tormented man she encounters to unfold before me.
As a passionate gamer immersed in the world of digital art, I relished the opportunity to create visually captivating content for this anthology. I’m truly grateful to be a part of such an exciting project. The tune we were working with demanded powerful visuals that combined static and motion seamlessly, creating a dynamic experience. Collaboratively, Jerome and Severine and I crafted the surrealist masterpiece called Wanderlust, exploring the intriguing theme of loving something seemingly unattainable.
Beyond the Pain by Martina Shöne Radunski
“The lyrics imply that pain propels us towards bonding, resulting in aesthetics, innovation, and stronger ties. My short film presents an alternative perspective through my character V, who yearns for connection but is met with rejection, thereby underscoring how pain can exacerbate solitude, even when we crave camaraderie. However, the film also hints at a flicker of fortitude.
An unnamed being lands on a rocky terrain, discharging energy that infuses life and vibrancy into its surroundings. The collision of extraterrestrial tissue with ancient architectures brings to mind the sight of molten lava that shaped our planet long ago.
Initially, we aimed to debut Icon with an unusual runway illuminated solely by the characters’ van. However, an unexpected change of location due to the arrival of violent gangs forced us to reconsider the tone, turning what was meant to be a brief interlude into a complete sequence. We produced ‘From A Bridge View’ within 48 hours, a truly inspiring creative frenzy. We found ourselves immersed in our own game, and it was a delightful experience.
The pulsating, unyielding rhythm of ‘Icon’ by Jen Gatien captivated me instantly, sparking visions of a fantastical voyage. Drawing inspiration from Gaspar Noe and Dennis Hopper, I aimed to craft a surreal motorcycle ride, traversing the vibrant, neon-lit nightclub landscapes of New York City and venturing into the swamps of Mississippi. To me, ‘Icon’ evokes a cinematic and emotional experience, so I sought to be immersed in an abstract world devoid of linearity.
Titled “Cracks” by Katsuki Kuroyanagi, this movie is nestled in an antiquated part of Shibuya, Tokyo – a neighborhood untouched by modernization – serving as a symbolic representation of the chasm separating the mainstream society and the underground culture.
Edgar Pêra’s Film “Slander” (whose movie Telepathic Letters, using AI-generated images, will be showcased at Oldenburg)
“The concept behind this film isn’t crucial. What truly mattered were the emotions and sensations I felt when I first heard ‘Slander.’ When I create a movie, it’s not about portraying something; it’s about discussing something through cinema. Hearing ‘Slander’ provided me with the right inspiration, vibrations that already resonated within me. For me, ‘Slander’ is the ideal fit, a perfect pairing born from (AI) creativity.
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2024-09-12 17:55