Luis Soares's Blog, page 21

Wind Serenade

Wolfgang Amadeus Mozart: Wind Serenade in C Minor • Kaleidoscope Chamber Orchestra

Live recording from performance on February 23, 2020
First Presbyterian Church of Santa Monica

Robert Walker, oboe
Yasmina Spiegelberg, clarinet
Jessica Maxfield, alto saxophone
Benjamin Mitchell, bass clarinet
Nick Akdag, bassoon

The End

"THE END". Short Film. from Fabrice Mathieu on Vimeo.

In 2020, the world stood still... in the movies too.
En 2020, le monde s'arrêta... dans les films aussi.

"The End" is an experimental narrative short film, in black & white and color, made only with movies gifs with a perfect loop, more than 500.
"The End" is also a tribute to the cinema, from silent films to now.

"The End" est un court-métrage expérimental narratif, en noir et blanc et en couleurs, conçu uniquement avec des gifs de films, plus...

Ocean Vuong - The Last Prom Queen in Antarctica

It’s true I’m all talk & a French tuck
but so what. Like the wind, I ride
my own life. Neon light electric
in the wet part of roadkill
on the street where I grew up. I want to
take care of our planet
because I want a beautiful
coffin. It’s true, I’m not
a writer but a faucet
underwater. When the flood comes
I’ll raise my hand so they know
who to shoot. The sky flashes. The sea
yearns. I myself
am hell. Everyone’s here. Sometimes
I go to parties just to dangle my feet
out of high windows, among people.
The boy c...

We know what you did during lockdown

We gave up our privacy to fight Covid-19, can we get it back? An FT film starring Lydia West and Arthur Darvill in collaboration with Sonia Friedman Productions and supported by Luminate. An interrogation scene explores how Covid-19 has exposed the tension between the need for data to track and trace, and the right to privacy and justice.

Written by James Graham.
Actors Lydia West and Arthur Darvill.
Directed and produced by Juliet Riddell.
Edited and produced by Tom Hannen.
Additional filming ...

VBS

Lucy Dacus - "VBS" (Official Music Video) // Directed and Animated by: Marin Leong

Hugh Holland in Black and White

In 1975, when Hugh Holland first began photographing the skateboarders in southern California, he had already been living in Los Angeles for nine years. His interest in photography had developed in the mid-sixties as a 20-year-old living in his native state of Oklahoma. Except for a college job working in a photo lab, Holland had no formal art education. However, he spent years training his eye by shooting photographs and working with the images.

It wasn't until after returning from a tri...

Três poemas de Francisco Brines

Aquel verano de mi juventud

Y qué es lo que quedó de aquel viejo verano
en las costas de Grecia?
¿Qué resta en mí del único verano de mi vida?
Si pudiera elegir de todo lo vivido
algún lugar, y el tiempo que lo ata,
su milagrosa compañía me arrastra allí,
en donde ser feliz era la natural razón de estar con vida.

Perdura la experiencia, como un cuarto cerrado de la infancia;
no queda ya el recuerdo de días sucesivos
en esta sucesión mediocre de los años.
Hoy vivo esta carencia,
y apuro del engaño algún resc...

Do Not Go Gentle

Michael Sheen performing 'Do not go gentle into that good night' for Dylan Thomas Day is everything you'd hope it to be.

Laurie Anderson: Tiny Desk (Home) Concert

Bob Boilen | May 20, 2021
Laurie Anderson is a revolutionary artist who has mixed storytelling, music and technology for the past four decades plus. This Tiny Desk (home) concert celebrates the truly breathtaking breakthrough album she put out in 1982, Big Science. On that record, she used a few different voice processors; one of them was a Vocoder. By singing into a microphone attached to a keyboard, you can hear how it effectively adds harmony to her voice on "Let x=x." Laurie Anderson also us...

The Gaze

The Gaze from Barry Jenkins on Vimeo.

In my years of doing interviews and roundtables and Q&A’s for the various films we’ve made, there is one question that recurs. No matter the length of the piece or the tone of the room, eventually, inevitably, I am asked about the white gaze. It wasn’t until a very particular interview regards The Underground Railroad that the blindspot inherent in that questioning became clear to me: never, in all my years of working or questioning, had I been set upon ab...