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artwalktv · 6 years ago

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vimeo

Jacqueline has lost her mind a bit, but whatever, for her trip to the seaside, she has decided to take the train by herself, like a big girl! DIRECTOR : Franck Dion SCENARIO : Franck Dion ENGLISH ADAPTATION : Kathleen Fee ART DIRECTION : Franck Dion EDITION : Franck Dion SETS : Franck Dion MUSIC : Pierre Caillet MUSICIANS : Akosh (saxophone), Ludovic Balla (violin), Edward Perraud (drums), Pierre Caillet (musical saw) VOICES : Florence Desalme (french voices), Jeannie Walker, Kathleen Fee (english voices) SOUND DESIGN : Pierre Yves Drapeau FOLEY : Lise Wedlock MIX : Serge Boivin MODELING : Franck Dion, Nicolas Trotignon RIGGING : Clément Vaucelle (Wipix) ANIMATION : Gilles Cuvelier, Gabriel Jacquel, Nicolas Trotignon, Franck Dion, Bei Chen RENDERING AND COMPOSITING : Franck Dion TECHNICAL DIRECTOR NFB : Pierre Plouffe TECHNICAL COORDONATOR NFB : Julie Laperrière ADMINISTRATOR NFB : Diane Régimbald EXECUTIVE PRODUCER : Franck Dion PRODUCERS : Richard Van Den Boom, Julie Roy LINE PRODUCER NFB : Francine Langdeau MUSIC STUDIO : Sequenza IMAGES POST-PRODUCTION STUDIO : Digital Cut SUPPORTED BY : The CNC, The CNC - New Technologies in production, Arte France, The Procirep and the Angoa AWARDS Cristal for the Best Short Film in the International Animation Festival 2016 of Annecy Best animated short film award in the Imaginaria Festival 2016 of Conversano Unifrance Award in the Off Courts Festival 2016 of Trouville Best Director Award in the International Animation Film Festival 2016 of Paris Animation Award in the Short Film Festival 2016 of l'Isle-Adam Jury's distinction for Pierre Caillet's work on "Child Dream", "In Deep Waters" and "The Head Vanishes" in the International Animation Film Festival of Paris 2016 Best Animation Award in the New York City Shorts Festival 2016 Special mention of the jury in the Sequence Short Film festival of Toulouse 2016 Best scenario award in the Multivision festival of Saint-Petersburg 2016 Audience award in the Tous Courts festival of Aix en Provence 2016 Best Canadian Screenplay in the Whistler Film Festival 2016 Jury's Grand Prize at the Magical Nights of Bègles 2016 Second prize for a short film in the Cairo International Animation Forum 2017 Best Short Film Award in the Miami International Film Festival 2017 Special jury's Prize in the Meknes festival 2017 Best Animation Award in the L'ombre d'un court Festival 2017 Special Jury Mention at the 2017 Seattle International Film Festival Grand Jury Award and Best Animated Short Award in the Palm Springs Short Fest 2017 Best Animation in Los Angeles Short Fest 2017 Venus for the Best Animation in Badalona Filmets 2017 Short Film Jury Special Award in Yerevan ReAnimania 2017

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whileiamdying · 6 years ago

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livs-muses · 8 years ago

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Wed Me - Lise/Marcos

Wed Me: I’ll write a drabble about our character under the subject of wedlock.

The clock was ticking far too loudly. It made Marcos too aware of time; though that very concept had been one of only two things occupying his mind for the past 24 hours. The other being his wife. Or, rather, the woman who would become his wife very soon. Was he nervous? He couldn't be sure. He'd certainly been nervous before his very first football match, for example, but this was different. Lise was the one person who could calm him in any situation; she was his best friend, his other half. If Marcos was a jigsaw, being without Lise would mean having a piece missing forever. So no, he wasn't nervous. He was about to marry his soulmate.

She looked wonderful. Elegant. Exquisite. Ethereal. Perhaps Lise herself would never associate herself with any of those words, but they were all that could spring to Marcos’ mind as he saw his wife-to-be walking down the aisle. He’d always found her beautiful, but seeing her now, as the sun leaked into the church through the open doors and illuminated her from behind as though she was the only thing the light decided to shine onto, Marcos realised he had never, and would never, think any woman more stunning than her. When Lise finally joined him at the altar, Marcos could tell she was uncomfortable by the way she looked at him. Marcos was used to attention; his picture was perhaps taken at least once every day, but he knew she wasn’t. And as if it wasn’t already bad enough having the eyes of every invitee resting on the two of them, there was also a hoard of paparazzi standing outside, as this was considered a ‘showbiz wedding’.

Marcos placed his hand on Lise’s cheek to reassure her. He gently tilted her chin upwards so her gaze was focused solely on him, and he smiled at her as he let his eyes wander over her entire figure, still in awe at her infinite beauty, once more before the time came to recite their vows. The couple pledged their hearts to one another, which brought a tear to Marcos’ eye, and when they had finished, they sealed their marriage with a tender kiss. Applause broke out among the congregation, and with beaming smiles, the couple were led into a small room in the side of the church to sign the wedding register before they headed out of the large double doors, with a sea of brightly-dressed guests spilling out behind them. Almost as instantly as their feet stepped out onto the gravel, the dazzling lights of the cameras began to flash in their eyes. “Get rid of them,” Lise hissed in Marcos’ ear, her hand tightly grasping his.Marcos looked over at his new bride, and a twinkle in his eye told her that he wasn’t going to do as she said. He lifted her up into his arms, much to her annoyance, and carried her down the churchyard into the crowd of photographers. Despite Lise’s embarrassed protests as she tried to shield her face from each lens that was thrusted at her, Marcos kept hold of her and smiled broadly as he walked. He was far too proud of his precious wife to let her hide away from photos.

@hopelesswxnderers

#character:marcos #marcos x lise #drabble:marcos

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ozkamal · 6 years ago

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#IFTTT #Vimeo

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funtubeweb · 6 years ago

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Deyzangeroo: Ehsan Gharib Howls at the Moon

Filmmaker Ehsan Gharib has vivid memories of hearing the percussive beat of the Deyzangeroo ritual as a kid — a potent wave of sound and song that would emanate from the newly established refugee districts in his hometown of Arak in central Iran.

“Something big was happening in their neighbourhood, you could tell,” he says. “You could feel the bass of their drumming in the earth beneath your feet.”

Displaced by the Iran-Iraq War, thousands of refugees from southern Iran had found sanctuary in Arak, and among them were fishing people from the old port city of Bushehr — home to an unusual moon ritual known as Deyzangeroo. When confronted with the sudden terrifying darkness of a lunar eclipse, the fishermen of ancient Bushehr would appeal to the cosmos with defiant drum-fuelled chanting and dance, a life-affirming group performance intended to ward off evil and chaos — and restore the moon to its rightful place in the night sky.

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“The beauty is that it always worked, the moon always returned,” says Gharib with a grin. And decades later he is still feeling the beat, still falling under the spell…

With Deyzangeroo, an award-winning short now available online, he infuses the ancient ritual with surprising contemporary resonance, fashioning four minutes of exhilarating handcrafted animation that light up the screen with joyous awe.

“It’s about unity, about coming together to face the fear — and that feels completely current for me,” he says. “I like the idea that we can act together, that we can do something creative and beautiful in response to all those things that are bigger than ourselves.”

“The audience is not always in a super safe place — and I like that”

In telling a story that revolves so closely around the uniquely human capacity to make sounds that are musical yet also instinctive, Gharib allowed his creative process to slip free of overly constrictive intellectual constraints.

“At a certain point I realized that the more I planned, the less I liked the results, so I just started experimenting, discovering things along the way. In a way, I made this film with my body and I think that brings a kind of magic to the images. The audience is not always in a super safe place, and I like that. They have to discover as well.”

Working largely on his own, he created animation directly under camera, a process already akin to a leap in the dark, using unusual materials like oil paint and broken mirrors. The result is a story that floats within a vast galactic space, punctuated with striking percussive visuals — a quick painterly stroke evoking a handheld lamp or a cheesecloth effect suggesting a fishing net — that bring viewers back to earth with a sense of sharply etched sensory surprise.

Animation as exorcism

“It’s been fascinating to watch how audiences respond to the immediate sensory experience of the film,” says producer Maral Mohammadian, commenting on the tangible energy that fills the dark cinema after each screening. “They may not understand it intellectually, but they give in to it with their more primal senses, and that’s kind of the point. There’s an echo of the practices of those ancient mystics — the idea that we come to terms with the unknown by participating in collective ritual. So the film seems to work as a kind of cinematic exorcism, an outburst that casts out the demons.”

Gharib acknowledges the vital support he got throughout the production from Mohammadian, who also has Iranian roots. “We had a beautiful common understanding right from the start. I almost felt that Maral knew the film better than me, so I had full trust in her judgement. That trust helped me to keep exploring, to fly as high as I wanted.”

Collaborating with Habib Meftah Boushehri

Gharib’s key collaborator on the remarkable soundtrack was the Paris-based jazz musician Habib Meftah Bouchehri, pictured below, a virtuosic Bushehr-born percussionist with a deep knowledge of Persian traditional music. His 2005 album Deyzangero would provide Gharib with a deeper understanding of the ritual and inspire his own creative project.

Over the course of one intense week in 2016, Ehsan and his wife Homa Wahabi, who he credits as an essential early partner, worked alongside Bouchehri in his Paris apartment, recording multiple tracks of improvised chanting and percussion. Once they were back in Montreal, sound designer Olivier Calvert combined these recordings with Foley effects — the quiet lap of waves, the rub of wooden oars — to create a rousing and richly descriptive soundscape. “Even with your eyes closed,” says Ehsan, “I want the sound to take you somewhere.” Below: Sound designer Olivier Calvert at work with Foley artist Lise Wedlock.

A fresh perspective on Iran

Ehsan Gharib trained initially as a designer and photographer, going on to study filmmaking and cinema aesthetics at Tehran’s Soroush Film School, and animation at Montreal’s Concordia University. “I’ve been lucky to study animation with some of best teachers and artists in the field,” he says.

In making Deyzangeroo, a film that highlights a fascinating and little-known Iranian folk ritual, Gharib is aware of presenting international audiences with fresh perspectives on Iran, a country and culture that’s so often under- or misrepresented in mainstream western media.

“When it’s represented at all, Iran is usually depicted as either as an exotic object or as terrorism, and neither are accurate,” he says. “It’s easy to be enemies with something you don’t know, but where there is understanding, there can be friendship. Iranian culture has many gifts to offer, an interesting mix of modern and traditional, and I’d like to make it better known to the rest of the world.”

Deyzangeroo made its world premiere at the 2017 edition of Montreal’s Festival du nouveau cinema and has circulated at international festivals, winning the Golden Dove for Best Animated Short at Doc Leipzig. It was produced by Maral Mohammadian and executive produced by Michael Fukushima at the NFB Animation Studio. Deyzangeroo is Gharib’s first professional film. Visit his vimeo page to view earlier work.

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Deyzangeroo: Ehsan Gharib Howls at the Moon posted first on http://film-streamingsweb.blogspot.com

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