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28 Jan – 7 Feb 2027

Sound Bridges

Combined programme | IFFR 2005

To what extent does the soundtrack determine the interpretation of the image? How does the soundtrack cause images to `happen’? Why do we all get different visual impressions, listening to the same music? In the context of the project ZIEN KIJKEN FILMEN (SEEING WATCHING FILMING), the province of South Holland again asked the festival to produce a series of short films. Last year, this led to a very stimulating series of ten ‘one-minute’ films. This year, the festival has once again proposed a very particular challenge to a selection of film makers. The starting point is the sound track. Contemporary composer David Shea was commissioned to make a score. Then is it was up to the filmmakers to associate images with these sounds. The soundtrack could be used as such, or be remixed, or they could even come up with a longer film around the score. As long as the source music remained distinguishable. The result of the commission is entitled Memory Lane and consists of three layers. The layering of memories that occur when we allow our minds to wander. There are three strata that combine to make a single piece, wrapping and weaving the layers, references, textures, colours and sound icons around each other to form a whole. The first layer is a meditation in which the mind struggles to maintain a single focus and encounters subtle shifts and gradual changes, musically focusing on electronic sources. The second is a symphonic instrumental flow of emotional states, which also tries to maintain a focus on a single note that transforms from that centre but always returns, and is submerged into the larger texture. The third is a cut-up collage of referential sounds that jumps from memory to memory without transition and refers to films, TV, familiar sounds, musical styles and partially-remembered events. Each individual filmmaker can trace his personal trajectory through these musical layers. This results in a maximum of variety regarding style, as well as technique and nationality. Each of these is intended to be a powerful example of the kind of film culture the festival stands for. At the world première, David Shea will perform his own remixes of the source material in between the five finished films. See: www.dshea.net (EC)

In this combined programme