SYS 2ND - Seeyousound revamps
For its second edition, which lasted from the 25th to the 28th of February 2016, Seeyousound has proudly landed in the theatres of Cinema Massimo, one of the crucial places of the cinematographic cultural activity of the city.
Loyal to its cinematographic and musical calling, the festival has offered over 80 screenings, divided in the usual sections of competition and film review (which this year was symbolically called “Music is the weapon”). This edition has also improved thanks to the addition of a panel and a djset, to act as a sounding board for the Festival, even outside the theatres.
An event for everyone: the opening party is at Cavallerizza Reale, with international stars Philip Cohen Solal and Mark Reeder.
Another news: there’s been an increase of the prizes and their juries, composed of representatives with a recognised significance in the cinematographic and musical fields. To the three traditional prizes for the competition’s sections and the prize for the audience, we added various complementary prizes, such as “Best Original Soundtrack Award” assigned by the magazine Rolling stone.
Into the Groove
For an anarchic and cross-section, a suggestion that could intrigue and provoke, in a way as eclectic as possible, was necessary: three films, two of which are italian premieres and the other one is a classic that for many years was no longer proposed in a movie theater. The latter, “The Jazz Singer” by Alan Crosland, is a keystone in the history of cinema, since 1927, when it ferried silent movies to sound movies. During this special event, you will have the unique opportunity to attend the screening of three other documents: the “Dickson Experimental Sound Film” of 1958, first short film with sound recorded live; “Dame I do bytu“, universally recognized as the first music video in history, made in 1958; “Bohemian Rhapsody” by Queen in the original version of 1975, entirely shot and edited on Videotape. The second film is an italian premiere: “Danny Collins” with Al Pacino, whose performance earned him a Golden Globe nomination in 2016. The third film, which will open this edition of Seeyousound “B-Movie: Lust & sound in West-Berlin 1979-1989” is a vivid and unconventional fresco of West Berlin in the ’80s, with an exceptional guide: Mark Reeder, icon of the German punk rock season.
Music is the weapon
Cinema and music overpass the spoken and written language, in a perfect marriage that has an unprecedented ability to open our eyes: thanks to their deep emotional component these works fascinate, stimulate, inspire and raise awareness, often are the mirror of reality and help to become acquainted with other cultures; the stories they tell are used to denounce injustice, but also to heal the wounds and build bridges towards hope. Six films that will take us into a global journey, from Cuba to the United States, from Cambodia to Mali, through the unknown Greenland, through different sounds and experiences, but with a unique and common spirit, the one embodied in the words of Fela Kuti that give the title to this review.
Juanita Apraez Murrillo
On Sunday February 28th, 2016 the second edition of Seeyousound – International Music Film Festival ended, which rewarded one work for each of the three sections of the competitions (LONGPLAY/Featured Films, 7INCH/Short Films, SOUNDIES/Music Videos). To these prizes, it’s been added a prize for the audience
and other special ones.
The jury, composed of Philippe Cohen Solal, music producer and co-founder of
Gotan Project; Mark Reeder, music producer and dj, and Alexander King, Program Manager of Leeds International Film Festival, has assigned the prize to: Miss Sharon Jones! by Barbara Kopple.
Reason: We chose this film because we’ve been particularly moved by the
courage, the determination and the spirit of the main character Sharon Jones when she went through such a difficult situation. We were also impressed with the technical ability and the sensitivity of the shots that were able to create an intimate, warm, spontaneous and strongly emotional connection with the character; lastly, we were very inspired by the solidarity and the ethic of Dap Kings and the miraculous
and therapeutic power of music.
The jury, composed of Jacopo Chessa, director of Centro Nazionale del Cortometraggio, Tommaso Paradiso, leader of the group Thegiornalisti and Wintana Rezene, radio and tv host, has assigned the prize to: Joao Batista by Rodrigo Meireles.
Reason: Thanks to its ability to represent a person, which morphs into a metaphor of a society that shows hidden perspectives of life, without ever surrendering to a rhetoric of the gaze and instead taking advantage of the potential of a set up in an original scene full of tension.
Aubade by Mauro Carraro.
Reason: Thanks to its delicacy and technical knowledge in representing a reality mixed with dreams, joining the melody to an image that follows the beauty without ever falling for the traps of aestheticization.
The jury, composed of Emanuela Martini, director of Torino Film Festival, Luca Pacillio, cinematographic critic, and singer-songwriter Bugo, has assigned the Prize “Nicola Rondolino” for best international videoclips to: Fantasia (Fur Voice) by Pablo Maestres.
Reason: A surreal version of “Alice in Wonderland” that impresses for its vitality, its continuous invention and the quality of art direction. It’s unsettling without ever being cheesy and it ends coherently in its narrative circle.
Back on my feet (Balafas & Zervakis) by Theo Papadoulakis.
Reason: It’s a powerful portrait, set between realism and references to the traditional greek culture, of an extremely current theme.
The audience of the second edition has assigned the prize as best film to: Bloed, zweet en tranen (Blood, sweat and tears) by Diederick Koopal.
ORIGINAL SOUNDTRACK AWARD
“People at Rolling Stone like to watch music and listen to pictures, so I immediately liked the idea of participating to a festival like Seeyousound, with our own special prize for best soundtrack. A festival that has been able to give importance to the cinema that “talks” about music, two themes that are crucial for Rolling Stone, and moreover it did so showing valid and not predictable movies. Because music is the exact opposite of the cliche – as Madaski said in the doc dedicated to himself – and this is what matters to us at Rolling Stone.” (Massimo Coppola, director of Rolling Stone Italia).
The jury, composed of Silvia Danielli, Paolo Spaccamonti, Roberto Casalino and Marco Mathieu, has assigned the prize Rolling Stone to:Monsterimies (Monsterman) by Antti Haase.
Reason: Thanks to the track’s power and pathos alternated to original fragments that become the soundtrack’s leitmotivs.
Joao Batista by Rodrigo Meireles
Reason: Thanks to the originality in the use of music inside the narration: from the work noises’ impact to the diffusion of the tracks in the traffic, the contamination of the noises follows and draws the shape of the character.
The jury, composed of Emiliano Fasano, secretary-general of ASIFA Italia – Association Internationale du Film d’Animation, Alessandro Amaducci and Paula Dias, has assigned the prize to: Aubade by Mauro Carraro
Knock Knock by Andril Kovalov.
Reason: Thanks to the originality of the idea that combines animation with the song’s storytelling.
PREMIO TROLLBEADS – BEST STORYTELLING
The jury, composed of Matteo Negrin, Stefano Boni, Alessandro Gaido, Francesco Rapone and Claudia Cherubini, has assigned the prize for best storytelling between the 8 longplays participating to the contest to: Miss Sharon Jones! di Barbara Kopple.
Reason: Thanks to the ability to tell a professional and human story overcoming the limits of biographism and referring to bigger human meanings.
Sicily Jass by Michele Cinque.
Reason: Thanks to explanatory clarity and the strict research of the sources to reach the goal of telling a nearly unknown story.
“PIEMONTE MOVIE” MUSIC VIDEOS’ PRIZE
The jury has assigned the prize for best piemontese videoclip of the year to: Vanilla Cola (Niagara) by Andrea Daddi.
BEST DAMS MUSIC VIDEO PRIZE
Grimey by Isabella Gallo.
Reason: Thanks to the skillful use of the places reinforced in the modern videoclip.