Read More: Here are the Cameras Used by the 2015 Tribeca Filmmakers It all began over a glass of wine. "We were drinking wine and I cut the [stem] of my wine glass and then with the [base] we started discussing the concept," "Lucifer" director Gust Van den Berghe recently told Indiewire while in New York for the Tribeca Film Festival. This conversation between Van den Berghe and his cameraman resulted in the the development of a new idea: shooting through a cone-shaped mirror, a technique used to capture a panoramic view within a circular frame, what Van den Bergh would eventually dub the Tondoscope. Screened in the Viewpoints section at this year's Tribeca Film Festival, "Lucifer" is a deeply contemplative and highly-stylized cinematic adaptation of Joost Van Den Vondel's play of the same name. "Lucifer" is the final installment in a three-part series in which Van den Berghe focused on religion.
- 4/27/2015
- by Shipra Harbola Gupta
- Indiewire
Belgian director Gust Van den Berghe concludes his triptych on the emergence of human consciousness that began with Little Baby Jesus of Flandr and continued with Blue Bird, the enticingly titled Lucifer. Speaking of consciousness, a better-suited mythological figure in the Western canon would be hard to find. The script is adapted from a 1645 play of the same name written by Joost van den Vondel, from which, supposedly, John Milton drew inspiration for his Paradise Lost. Van den Berghe's previous indigo-tinged film Blue Bird was also an adaptation of 1908's symbolist play by Belgian literature Nobel Prize laureate Maurice Maeterlinck. The director keeps the classic three-act structure, introducing each act with a particular title, Paradise, Sin and Miracle, that bears more figurative than literal meaning. A ladder...
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- 2/5/2015
- Screen Anarchy
Getty Andriessen
Last night marked the New York concert premiere of Louis Andriessen’s La Commedia, the Dutch composer’s 2008 “film opera” of five sections based on Dante’s epic poem, at Carnegie Hall’s Stern Auditorium. The Asko | Schoenberg ensemble, conducted by Reinbert de Leeuw, powered through Andriessen’s kinetic, textured score — injected with long stretches of jazz and big-band rhythms and even some driving “hard rock” riffs. Synergy Vocals and the Brooklyn Youth Chorus provided a strong choral foundation, engaging with the characters of “The Divine Comedy” as they journeyed from the City of Dis to Paradiso, covering a libretto in four different languages (English, Dutch, Latin, Italian) along the way.
Cristina Zavalloni sang the role of Dante, whipping her long, thin body about the stage. Also trained as a jazz singer, Zavalloni was singing a part composed especially for her; she’ll next star in Andriessen’s opera about Anais Nin,...
Last night marked the New York concert premiere of Louis Andriessen’s La Commedia, the Dutch composer’s 2008 “film opera” of five sections based on Dante’s epic poem, at Carnegie Hall’s Stern Auditorium. The Asko | Schoenberg ensemble, conducted by Reinbert de Leeuw, powered through Andriessen’s kinetic, textured score — injected with long stretches of jazz and big-band rhythms and even some driving “hard rock” riffs. Synergy Vocals and the Brooklyn Youth Chorus provided a strong choral foundation, engaging with the characters of “The Divine Comedy” as they journeyed from the City of Dis to Paradiso, covering a libretto in four different languages (English, Dutch, Latin, Italian) along the way.
Cristina Zavalloni sang the role of Dante, whipping her long, thin body about the stage. Also trained as a jazz singer, Zavalloni was singing a part composed especially for her; she’ll next star in Andriessen’s opera about Anais Nin,...
- 4/16/2010
- Speakeasy/Wall Street Journal
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