I’m Still Here_The film starts and ends under the sign of tropicalism, the powerful invention of Caetano Veloso and Gilberto Gil that beautifully blends the souls of Brazil: Rio and Sao Paulo in their eternal symbolic conflict, Bahia’s archaicism, Brasilia’s futurism. The fifty years in the lives of the Paiva family anchor effectively in the ineffable beauty of these sounds. Tropicalism is not only music, but also poetry, performance, a mix of forest and cityscape. In the middle story, as the surviving people painfully look for truth, ample space is given to a little trickster I know… none other than Warren Ellis, Nick Cave’s longtime fellow.
Why War_In this five-voice oratorio by Amos Gitai, two of the voices are music. The pure, beautiful light of Irène Jacob accompanies Einstein’s progressive stance on the possibility of eradicating war from the world, Freud’s reflections on the ruins culture grows on. Louis Sclavis’ music and the Viennese Chamber Choir give no time to rest: they create a sound wall, or rather a carpet, that holds together a fragmented, restless, peaceless feature.
Brazil, 1971. In a country under the tight grip of military dictatorship, Eunice Paiva’s life, along with that of her five children, changes dramatically following the disappearance of her husband, former Brazilian Labor Party deputy Rubens Paiva. Adapted from the memoir...
When the United Nations asked Einstein in 1932 to choose an intellectual to whom he could pose a single question, his choice fell on Freud. Their dialogue begins with two words, reflected in the title of the film Why War, which have shaped modern discourse on mass violence per...
