Après la mort brutale d’un proche lors d’une séance d’hypnose qu’elle animait, Louise, jeune psychiatre tente de se reconstruire en s’installant dans un petit village de l’Aubrac. L’arrivée d’un nouveau patient au comportement étrange va la plonger dans une spirale infernale. Sa vie et celles des autres vont devenir un véritable enfer.
Yvi Slan s’est inspiré de György Ligeti, Krzysztof Penderecki, l’avant garde de la musique contemporaine polonaise des années 70. Il y a ajouté ses influences de fan de musique de science fiction comme les frères Bebe et Louis Barron. Yvi Slan a mélangé le tout aux bandes sons de films de genres actuelles comme les grosses productions internationales de films d’horreurs ou fantastiques. Son passé de compositeur de musiques électroniques, donne une musique résolument racé, ultra typé, moderne, comprenant tous les codes du cinéma de genre tout en s’en distinguant en y rajoutant sa « touch ».
Mastemah est une bande son, sombre, froide, triste, planante, totalement psychédélique, douce et ultra-violente et surtout sans compromis.
Nelly has escaped from her wealthy and controlling family. As she dances in a strip club, she meets Markos, a small yet charismatic gangster, who helps her run away from her stepfather’s henchmen. Markos soon becomes her protector and lover. He brings her into Broadway, Athens, an abandoned entertainment complex squatted by a small community of dancers, tramps, thieves and a captive monkey.
For a while, everything goes well, even when Broadway hosts a mysterious man, injured and covered with bandages, wanted dead by Athens’ most dangerous mafia. However, when Markos gets arrested and imprisoned, the newcomer will take an unexpectedly important place in the gang.
For years, I have admired the work of Gabriel Yared.
I wished that one day I could have the privilege to work with him, even though such a scenario didn’t seem very likely, given the scale of films produced in Greece. I would never have imagined that the stars would align for this to happen in my first feature film.
For the music of “Broadway”, I envisioned a mixture of pre-existing dance songs (from “Fame” to Greek pop songs of the 70s) with an orchestral score that would convey the mysterious and romantic intonations of the story.
“Broadway” is a film, which draws from different genres – it is a thriller, a love story, a variété of sorts – so the music plays a key part in bridging these different traditions and moods.
The idiom of Gabriel Yared’s work was exactly what this tale called for. His music is always surprising, modulating between ever-changing climates: mysterious and yet deeply romantic; sharp and precise in composition, but fluid in its emotional resonance.
In ‘Broadway’, the music is not just underscoring the events. It is a force that drives the story, weaving a web of dramatic possibilities. It is the fuel, which sets the characters in motion, leading them through the twists and turns of chance.
And yet, like all great works, Gabriel’s music has a narrative of its own and will live and reverberate far beyond the screen.
The director Christos Massalas and I met very early on in the process, before the film was shot. We discussed the film in detail, and also the colours and atmosphere of the music. I love being involved in films at an early stage because this gives me the time to reflect on the story and truly focus on its essence and spirit.
After watching the first edit of the film, I began writing my main themes which I then crafted to particular scenes after the film was finalised.
Broadway really impressed me from the first time I saw it. It contains many unique qualities and immediately drags you in its microcosmos with all the darkness, mystery, and romance.
Christos’ attention to detail is admirable and it’s evident in all aspects of this film. He is a very promising young director who is also very musical.
We had a wonderful collaboration and I am sure both Christos and his film will have a great future.
Bright, intelligent, passionate and free, Eleanos is Karl Marx’s young daughter. Among the first women to link the themes of feminism and socialism, she takes part in the worker’s battles and fights for women’s rights and the abolition of child labor. In 1883 she meets Edward Aveling and her life is crushed by a passionate but tragic love story….
“Music was fundamental in contributing to the tone of the film. As I always do, I made my musical choices while writing the script, choosing to use for certain situations the music of the Downtown Boys, a contemporary Marxist punk. Rock band. I thought that this transgressive band would render the images more powerful, bringing them somehow out or above time, and adding also an ironic detachment from the most dramatic events. The Downtown Boys have also reinterpreted the French L’Internationale. On the other hand, in order to comment romantically and ironically on the more sentimental parts, I used pieces of classical music, mainly by Chopin but also Liszt, reinterpreted with modern sounds and arrangements by Gatto Ciliegia contro il Grande Freddo, the band I’ve always worked with for the musical scores of my films and whose melancholic atmospheres I am particularly fond of.”
An injured stunt woman is infected by an ancient biological compound, when a side job as a PI goes wrong….
DIRECTOR’S STATEMENT | TOXICA | dir. RONA WALTER
TOXICA is a movie that, as we found out after putting the visuals together, would deserve not only delicate sound design and SFX, but also quite the precise score.
The musical score is inspired by elements of 1990s rock music mixed with smooth synths and subtle orchestral elements. The gripping theme Nir crafted recurs throughout the entire film in different moods to cause a dreamlike – or rather nightmarish – cycle.
We emphasis the subtle dread lurking on screen, creeping closer with every act. For example, whenever “Professsor Senca”, portrayed by English actor Andrew Forbes (“Bronson”, “Dr Who”) is on screen, the sound of his clothes and movements is created with the sound of rustling leaves. We approached a similar procedure with Nir’s score, twisting expectations, to keep the audience unsettled without them quite knowing, why, Nir clicked immediately with my vision, and added some truly stunning ideas due to his seemingly endless knowledge of music.
COMPOSER’S STATEMENT | TOXICA | NIR PERLMAN
Right from the initial conversation with Rona we knew the score for TOXICA wouldn’t settle for a generic Hollywood fresque score. Working with the changing nature of the film’s visuals and narrative allowed me to musically explore each segment while trying to create a coherent sonic foundation for the film’s world.
I feel fortunate to have had the chance to work on a film that allowed me to compose for horror, fantasy, action and drama all at once!
In terms of instrumentation, I grounded much of sound world in synth-based elements while adding the softness of the orchestra and the grittiness of analog and digital processing of sounds (from guitars to harps to a string section).
I am very proud of what we’ve achieved with TOXICA, as crazy as it might seem, I think the film stands out in its own special way, and I’m glad I got to be a part of this project.
“Farewell Gulsary” is based on a story by recently deceased Krygyzstan author Chinghiz Aitmatov that was filmed in 1968.On doubts the Ussr produced version had quite the same political thrust as this one, which lays full blame for both a herdsman and his champion horse’s unhappy fates on the inept policies and vicious petty bureaucracy of the Communist party. Veteran director Ardak Amirkulov’s scenic but wooden take makes those points rather bluntly, and the whole equine aspect eventually feels superfluous. After some fest travael, “Gulsary will fast be put out to pasture.
One last trip over the mountains. The old herdsman Tanabai and his trusted pacer Gulsary are on their way home, but Gulsary will not make it through the night. Famous Kyrgyz writer Chingiz Aitmatov’s novel “Farewell, Gulsary!“ deals with old age, loss, and disenchantment but at the same time celebrates the beauty of life and what we make of it. On this long night in the mountains Tanabai reflects on his life while we in turn learn about Gulsary’s, told from the perspective of the horse itself. Sensitively written by Aitmatov and first published in 1963, the wistful story was adapted as a two-part radio play for German MDR radio by award winning director Heike Tauch under the title “Abschied von Gülsary“ in 2021.
I approached the music for this radio play as if scoring a feature film. Only this time most of the music was written and recorded before the script was finished or the actors’ voices were recorded.
We tried to cover every mood from the novel and recorded and mixed a score which would allow us to downstrip the music for the final mix, in case the arrangements threatened to overwhelm the soundscape. I also adapted the melody of the koshok, a traditional Kyrgyz lament, for two tracks. This album features the full version of each track we recorded plus some variations. It is a soundtrack, a concept album, and a tribute to the late Chingiz Aitmatov and his wonderful characters.
Andre Matthias – Composer
The Camel’s Lament (Koshok)* 2:38
The Herd 1:09
Dreams and Memories 2:13
Tanabai’s Song 1:39
The Storm 1:52
Dshaidar’s Song 2:18
The Vanished Summer 1:40
For Choro 1:21
Time Passes 1:35
The New Age 3:05
The Old Hunter (Koshok)* 2:40
Farewell Gulsary 1:58
duduk, temir komuz: Sandro Friedrich guitar: Riccardo Rocchi oud, tambura, lauto, cümbüs: Christian Fotsch soprano: Isgaard
guitar recorded by Stefano Rocchi music mixed by Jens Lück at Art of Music Studio
Bending Reality talks about the perception of reality, the faculty to interpret and manipulate this reality, to transform and sublimate it. What is true, what is wrong, what are the truths that exist behind appearances and how do they parasitize them?
I wanted to create a constantly evolving sound universe, invaded by musical interferences which distort the appearances of the music.
I have also used unusual rhythms on some tracks (7/4) to create a sense of shift and that something is not working in the usual way.
This album is a constantly changing canvas, nourished by sounds and rhythms which add up, add to each other and evolve.
Une musique et des maux. Les notes superflues mais tellement vrais au milieu des morts et des vivants. La guerre entend faire un autre son assourdissant, bouleversant. Ici en Syrie, plus loin au Yemen et maintenant a nos portes en Ukraine.
La vie est fragile, les instants d’une émotion rare. Plus rien n’est protégé, sauf les âmes qui donne du piano, de la voix…
Gabriel Yared est ce peintre d’un chaos de vie, imaginaire d’un printemps qui pourrait éclore, mais les destins se croisent, s’embrouille et parfois c’est le réel qui se dessine entre amertumes et regards vers un ailleurs.
Les notes sont brèves, romantiques et un piano se fait entendre toujours et de plus en plus fort.
Merci de ce moment d’espoir.
Karim, un pianiste rêvant d’une carrière en Europe, vit dans une ville du Moyen-Orient déchirée par la guerre où les modes de vie modernes ont été interdits par un groupe extrémiste. Il est obligé de vendre son piano pour ramasser de l’argent et partir. Mais les choses s’enchevêtrent lorsque son piano est abattu. Karim se lance alors dans une quête dangereuse pour réparer ses clés cassées…
Broken Keys est un film sur un pianiste rêvant d’une carrière en temps de guerre. C’est un film qui traite également de la poursuite externe et interne de la liberté et de la paix par le protagoniste. Les acteurs et l’équipe ont pris un grand risque lors du tournage à la frontière entre la Syrie et l’Irak, car ces zones sont fortement touchées par la guerre en cours.
J’ai eu une grande et fructueuse collaboration avec le réalisateur, Jimmy Keyrouz. Tout d’abord, Jimmy m’a envoyé son court métrage à regarder, qui était basé sur la même histoire que Broken Keys. J’ai adoré et j’ai décidé d’aller de l’avant avec le projet. Jimmy est venu me rencontrer à Paris et nous avons eu une longue conversation sur toute la musique de piano classique qui devait être utilisée dans le film. J’ai ensuite commencé à travailler sur mes thèmes principaux pendant qu’il tournait. Il m’envoyait quelques scènes pour que je les regarde, et donc ça allait et venait.
J’ai ensuite commencé à travailler sur mes thèmes principaux pendant qu’il tournait. Il m’envoyait quelques scènes pour que je les regarde, et donc ça allait et venait. Nous nous sommes revus à Paris et avons passé quelques jours à parcourir la musique que j’ai composée, à réfléchir et à comprendre les choses ensemble. Jimmy est très musical et comprend les capacités et les qualités de la musique qui élèvent les images et engagent le public. Pour moi, c’est la collaboration idéale entre un metteur en scène et un compositeur. Broken Keys est un film remarquable qui parle à mon cœur, car il parle du pouvoir de la musique alors qu’une nation est en guerre.
JOSE PROMIS is a Chilean-American singer-songwriter and composer, son of the well-known Chilean literature professor José Promis.
His eponymous debut album was released in 2005 and revealed that Promis was already influenced by the French chanson method and adult pop music structure, but there was a decidedly lo-fi element to the long player. The second album Promis issued, Promis 2 (2007), uncovered further sonic touchstones which included classical, Gothic, Mediterranean, and Balkan music. In a review of Promis 2, reviewer Leonard Lair remarked of the album, “Promis 2 is too long an album to take in one sitting, but overall, it’s the slower, subtler songs that should ensure Promis has a future beyond the reputation of a showman.”
From 2008 Promis teamed up with British producer Ian Matthews in Los Angeles, who produced the third album Promis III. Matthews would become a musical partner throughout his career. The basic idea for this album was to combine Promis chansons with electronic production, putting Promis’ songs to darker synthesizer sound.