USA 2011 (DigiBeta, 70', )
A state of general alarm is forcing people to hide or escape: Mary Taggert, a researcher and sound therapist, and her patient Alaska, a girl with a complex personality, find themselves traveling down deserted roads. Only the sky is occasionally traversed by airplanes flying above the sea. When their car breaks down, the two women are forced to stop along a desolate coastline at the edge of a forest. Alaska abandons the young researcher and this forces them both to turn to nature and its sounds in their search for salvation.
“An important theme of the film reflected in its title is the psychological impact of catastrophic events that are intentionally left undefined. In the technologically developed modern world we are subject to stress and fear caused by man-made disasters that are amplified by live news coverage. This environment creates a certain Condition in all of us. Almost anyone today is prone to some form of post-traumatic stress disorder.”
regia, sceneggiatura, fotografia/director, screenplay, cinematography
Amir Naderi, Andrei Severny
interpreti e personaggi/cast and characters
Jessica Kaye (la dottoressa/Dr Mary Taggert), Antonella Lentini (Alaska), Steve Moshier (il pescatore/Fisherman)
Andrei Severny (Mosca, Urss, 1977) ha esordito come fotografo prima di trasferirsi a New York nel 2004 e girare i suoi primi cortometraggi, Tom on Mars e Disparait, presentati in diversi festival. Nel 2007 ha iniziato a collaborare con l’artista visivo Edward Tufte, che ha supervisionato la lavorazione di Condition, suo esordio nel lungometraggio.
(Updated to the last partecipation to TFF)
Tom on Mars (cm, 2005), Disparait (cm, 2005), Condition (2011).
Monday, November the 28th at 11,30 pm, Massimo 3
A moveable feast/Waves
Condition. A meeting with the director Andrei Severny and the actress Jessica Kaye.
Andrei Severny: I come from a family of scientists. My grand-father was a famous physician and an astronomer. Among other things, he discovered that even the Sun has its own pulsation: something that everybody can easily verify. My father too was a physician and I have lived my childhood in Crimea, near an observatory, at the time of the Soviet Union, looking at the stars every night: certainly, a strange and romantic atmosphere. So, I felt that there phenomenons that we do not understand, but which we understand the importance.
Today, both my father and my grand- father are dead, but when I look at the stars I feel a strong bond still alive between us. While writing the script, I discovered a new therapy of the sound which can solve diseases − such as autism − by simply measuring waves and sound frequencies. It originates from a theory – elaborated by a scientist – which affirms that human ear is not only able to perceive sounds but it also emits them by itself. Therefore, if we measure its frequency, we should be able to understand whatever works or not in our organism.
This theory has not been accepted by the scientific community, which – as we know – is very closed and conservative: according to this scientist, it will take some fifty years before this will happen. The movie has an ending open to the interpretations of everybody. Even the causes of the situation in which the protagonists live, are not clearly explained. What we understand is that probably the cause is a bad use of Internet and that sounds – like those supervised in Alaska – may be the solution. Besides, I firmly believe in the therapeutic possibility of the sound: according to some studies, for example, sounds can assist more than chemistry, in the case of some diseases, such as autism. With such incredible results. Personally, some sounds – like those of nature – have an absolutely therapeutic value: and we belong to the natural world as well as to the universe in general. Although some aspects remain mysterious to us, we still belong to them.
Jessica Kaye: Andrei did not give us a lot of material to prepare us. I have heard some scientific records linked to the sounds, but I didn't have a lot of advices. Even the synopsis was really vague. So, we shot for three weeks and a half in the Maine without a precise script. Each day we were told what to do: we too did not know much of the project and the lines were often improvised. I think that Andrei was interested to the effects that nature had on us. Then, the story followed the rhythm of the shooting. We were living it day after day, without knowing exactly what we were doing.
Traduzione a cura di Noemi Maglio