Lear on the Shore
The overall concept of the film is easier to understand once one is familiar with the story of how it came into being. In 2004 the totally blind painter Sergey Popolzin and the musician Evgeniy Maslo…
Lear on the Shore
The overall concept of the film is easier to understand once one is familiar with the story of how it came into being. In 2004 the totally blind painter Sergey Popolzin and the musician Evgeniy Masloboyev were working on a joint project provisionally entitled 'Colour in Sound'. At that time Evgeniy created more than two dozen musical compositions to paintings by Sergey. Although this painting-and-music project was never ultimately realized, the music was preserved. In 2015 Sergey Popolzin had the idea of filming these tone poems together with his wife Rosmarie Spitzer as the camera operator. By September 2018 the film Music, Canvas, Oil (2020) had been completed: the first film made by Sergey Popolzin (screenplay, direction, art direction, production design, author of the paintings, video and audio montage). The compositional principle of the film is inseparably bound up with its music. Taking the total number of the pieces of music into account, the whole film could also be divided into twenty discrete, self-contained short films, each with its own subject - that is, the painting it focuses on. As the author and performer of the whole project, Sergey states: 'I should not be identified one-to-one with the figure of the artist in the film. Although we resemble each other physically, and although all the paintings are mine, I have merely attempted as a painter to answer in metaphoric-cal terms, without words, the question put by visitors to the exhibition - "How are the paintings made?" - and not to talk about myself.' In terms of their content, all these short films form a linked chain: painting 'en plein air', memories, strolls in a city, visiting a jazz club and making an exhibition. The film concludes with a metaphoric clip: a blind man stumbles across a stony sun-baked desert, without realizing that there is a wall in front of him. This metaphor is perhaps too literal, but the unspoken thought behind it speaks not of the burden of blindness, but of an artist who sees his own world and pays no heed to reality.
Lear on the Shore
Drama
Film Details
The overall concept of the film is easier to understand once one is familiar with the story of how it came into being. In 2004 the totally blind painter Sergey Popolzin and the musician Evgeniy Masloboyev were working on a joint project provisionally entitled 'Colour in Sound'. At that time Evgeniy created more than two dozen musical compositions to paintings by Sergey.
Although this painting-and-music project was never ultimately realized, the music was preserved. In 2015 Sergey Popolzin had the idea of filming these tone poems together with his wife Rosmarie Spitzer as the camera operator. By September 2018 the film Music, Canvas, Oil (2020) had been completed: the first film made by Sergey Popolzin (screenplay, direction, art direction, production design, author of the paintings, video and audio montage).
The compositional principle of the film is inseparably bound up with its music. Taking the total number of the pieces of music into account, the whole film could also be divided into twenty discrete, self-contained short films, each with its own subject - that is, the painting it focuses on. As the author and performer of the whole project, Sergey states: 'I should not be identified one-to-one with the figure of the artist in the film.
Although we resemble each other physically, and although all the paintings are mine, I have merely attempted as a painter to answer in metaphoric-cal terms, without words, the question put by visitors to the exhibition - "How are the paintings made?" - and not to talk about myself.' In terms of their content, all these short films form a linked chain: painting 'en plein air', memories, strolls in a city, visiting a jazz club and making an exhibition. The film concludes with a metaphoric clip: a blind man stumbles across a stony sun-baked desert, without realizing that there is a wall in front of him. This metaphor is perhaps too literal, but the unspoken thought behind it speaks not of the burden of blindness, but of an artist who sees his own world and pays no heed to reality..