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luís soares

Blog do escritor Luís Soares

Ghosteen

Part One
1 Spinning Song
2 Bright Horses
3 Waiting for You
4 Night Raid
5 Sun Forest
6 Galleon Ship
7 Ghosteen Speaks
8 Leviathan

Part Two
1 Ghosteen
2 Fireflies
3 Hollywood

Credits:
Film by: Hingston Studio
Directed by: Tom Hingston
Animation and Visual FX by: Yusuke Murakami, Markus Lehtonen, Aislinn Clifford, Amanda Tooke and Tiago Higgs

Maravilhas de 2018

Este ano não há Top 10s para ninguém. Este ano há uma lista alfabética de coisas que me maravilharam ao longo deste ano. Livros, discos, filmes, séries, concertos. Lembro-me destas, o que já quer dizer alguma coisa. Outras esqueci, a memória falha-me por vezes. Por ordem alfabética de autor:

  • Alfonso Cuarón - Roma - Se a memória fosse escrita, encenada, representada e filmada com perfeição virtuosística, era este filme. Um tratado sobre a arte do cinema. Com defeitos, claro, criticável, claro, mas isso haja liberdade para fazer sempre.
  • Bruno Nogueira (com Marco Martins e Ricardo Adolfo) - Sara - A melhor coisa que já se fez na ficção televisiva em Portugal. E ainda se consegue ver, creio. Do princípio ao fim, por favor.
  • Deborah Levy - The Cost of Living - Uma das jóias do ano, o confessional e diarístico escrito como deve ser. Já tinha gostado do "Hot Milk" e vou ler mais, estou certo.
  • Hanna Gadsby - Nanette - Sobre o humor, a gargalhada, o trauma, a liberdade e muitas outras coisas em que vale a pena pensar e sentir. Um tema para ler sempre mais.
  • Jon McGregor - Reservoir 13 - Pegar num género e ele ser outro género e deixar passar os anos anos e um livro ser isto.
  • Kore-Eda Hirokazu - Shoplifters - Vamos jogar um jogo de escondidas e descoberta com um amor profundo às nossas personagens. Foi merecida Palma de Ouro.
  • Laurie Anderson - Landfall (com Kronos Quartet)/ All The Things That I Lost In The Flood / ao vivo no Nimas - Um disco, um livro, um espetáculo, a perda, a poesia. Damn, girl.
  • LCD Soundsystem - Ao vivo no Coliseu dos Recreios - Transpirar a sério pelos melhores motivos com todos os meus amigos, mesmo os que não estavam lá.
  • Low - Double Negative - Quase sem querer, um disco que se entranhou. Fiquei surpreendido ao vê-lo em tantas listas de fim de ano, mas isso não me impediu de ouvir de novo.
  • Michael Ondaatje - Warlight - Volto sempre a ele e ele nunca me desilude, na intersecção entre história, indivíduo e poesia onde um dos corações da literatura vive.
  • Nick Cave - Ao vivo no Primavera Sound Porto - O momento, o local, o tempo, os artistas e, é claro, a música, no festival que prefiro, por estes dias.
  • Nick Drnaso - Sabrina - Tão longe chegou a chamada "novela gráfica". Nenhum preconceito deve impedir a leitura deste livro, num estilo tão limpo quanto os temas são graves, um relato minimal de um país caótico.
  • Paul Thomas Anderson / Johnny Greenwood - Phantom Thread - Les beaux esprits se rencontrent. Já tinha acontecido antes mas de novo aqui um filme, uma banda sonora, uma elegância que podemos destruir como nos apetecer.
  • Phoebe Waller-Bridge - Killing Eve - Espias, assassinas, mulheres. Um dos géneros mais antigos do audiovisual pode sempre ser baralhado sobre clichés e tornar-se um prazer.
  • Rosalía - El Mal Querer - Há gente que explica muito melhor que eu como este disco é musicalmente inteligente e viciante.
  • Ryan McGinley - Mirror, Mirror - Sempre a pensar, a sentir, a fotografar, rodeado de amigos e imagens, o Ryan mostra-nos o caminho.
  • Thom Yorke - Suspiria OST - Lá podia o Thom ficar atrás do Johnny. vivemos sobre os ombros de gigantes.
  • Thomas Adès - Concerto de piano com música de Leoš Janáček - Há sítios onde se volta, se é feliz e se descobre coisas que não se conhecia. A Gulbenkian é um deles.

I Need You

When you're feeling like a lover

Nothing really matters anymore

I saw you standing there in the supermarket

With your red dress falling and your eyes are to the ground

Nothing really matters

Nothing really matters when the one you love is gone

 

You're still in me, baby

I need you

In my heart, I need you

 

Cause nothing really matters

I'm standing in the doorway

You're walking 'round my place

In your red dress, hair hanging down

With your eyes on one, we love the ones we can

Cause nothing really matters when you're standing

 

Standing

I need you, need you

 

Cause nothing really matters

We follow the line of the palms of our hands

You're standing in the supermarket

Nothing, holding hands

In your red dress, falling, falling in, falling in

A long black car is waiting 'round

I will miss you when you're gone

I'll miss you when you're gone away forever

Cause nothing really matters

I thought I knew better, so much better

 

And I need you

I need you

 

Cause nothing really matters

On the night we wrecked like a train

Purring cars and pouring rain

Never felt right about it, never again

Cause nothing really matters

Nothing really matters anymore

Not even today

No matter how hard I try

When you're standing in the aisle

And baby, nothing

Nothing, nothing

 

I need, I need, I need you

I need you

I need you

Just breathe, just breathe

I need you

Distant Sky live in Copenhagen

The new EP ‘Distant Sky’ from Nick Cave & The Bad Seeds will be released on 12” vinyl and digitally on 28 September.

 

Let us go now, my one true love
Call the gasman, cut the power out
We can set out, we can set out for the distant skies
Watch the sun, watch it rising in your eyes


Let us go now, my darling companion
Set out for the distant skies
See the sun, see it rising
See it rising, rising in your eyes


They told us our gods would outlive us
They told us our dreams would outlive us
They told us our gods would outlive us
But they lied


Let us go now, my only companion
Set out for the distant skies
Soon the children will be rising, will be rising
This is not for our eyes

Girl In Amber

Some go and some stay behind
Some never move at all
Girl in amber trapped forever, spinning down the hall
Let no part of her go unremembered, clothes across the floor
Girl in amber lumber slumber shuts the bathroom door

 

The phone, the phone, the phone it rings, it rings, it rings no more
The song, the song, the song it spins since nineteen eighty-four
The phone, the phone, the phone, it rings, the phone, it rings no more
The song, the song it's been spinning now since nineteen
And if you want to bleed, just bleed
And if you want to bleed, just bleed
And if you want to bleed, don't breathe
A word

 

Just step away and let the world spin
And now in turn, you turn
You kneel, lace up his shoes, your little blue-eyed boy
Take him by his hand, go move and spin him down the hall
I get lucky, I get lucky cause I tried again
I knew the world it would stop spinning now since you've been gone
I used to think that when you died you kind of wandered the world
In a slumber till you crumbled, were absorbed into the earth
Well, I don't think that any more

 

The phone it rings no more
The song, the song it spins now since nineteen eighty-four
The song, the song, the song it spins, it's been a spinning now
And if you'll hold me I will tell you that you know that
And if you want to leave, don't breathe
And if you want to leave, don't breathe
And if you want to leave, don't breathe a word
And let the world turn

 

The song, the song it spins, the song, it spins, it spins no more
The phone, it rings, it rings
And you won't stay

 

Don't touch me
Don't touch me
Don't touch me
Don't touch me

Nicholas Cave times three.

You fell from the sky
Crash landed in a field
Near the river Adur
Flowers spring from the ground
Lambs burst from the wombs of their mothers
In a hole beneath the bridge
She convalesce, she fashioned masks of twigs and clay
You cried beneath the dripping trees
Ghost song lodged in the throat of a mermaid


With my voice
I am calling you


You're a young man waking
Covered in blood that is not yours
You're a woman in a yellow dress
Surrounded by a charm of hummingbirds
You're a young girl full of forbidden energy
Flickering in the gloom
You're a drug addict lying on your back
In a Tijuana hotel room


With my voice
I am calling you
With my voice
I am calling you


You're an African doctor harvesting tear ducts
You believe in God, but you get no special dispensation for this belief now
You're an old man sitting by a fire, hear the mist rolling off the sea
You're a distant memory in the mind of your creator, don't you see?


With my voice
I am calling you
With my voice
I am calling you


Let us sit together until the moment comes


With my voice
I am calling you


With my voice, I am calling you

 

Mostly I never knew which way was out
Once it was on, it was on and that was that
The umbilicus was a force that they'd found in rabid blood
Then I spin on my wheel like a laboratory rat
I was an electrical storm on the bathroom floor, clutching the bowl
My blood was for the gags and other people's diseases
My monstrous little memory had swallowed me whole
It was the year I officially became the bride of Jesus


In love, in love, in love you laugh
In love you move, I move and one more time with feeling
For love, you love, I laugh, you love
Saw you in heart and the stars are splashed across the ceiling


Oh, the urge to kill somebody was basically overwhelming
I had such hard blues down there in the supermarket queues
And I had a sudden urge to become someone, someone like you
Who started out with less than anyone I ever knew


In love, in love, I love, you love, I laugh, you love
I move, you move and one more time with feeling
I love, you love, I laugh, you love
I'm sewn in heart and all the stars are splashed 'cross the ceiling


Oh, and oh, you come shining
Softly to the hold of a drink
Come as far as the edge of my blood and swim
And in the bathroom mirror I see me vomit in the sink
And all through the house we hear the hyena's hymns


Of love, I love, you love, I love, you love, I laugh, you love
I move, you move, you move, and one more time with feeling
I love, you love, I laugh, you love
We saw each other in heart and all the stars have splashed and splattered 'cross the ceiling

 

 

I was ridin', I was ridin', oh
The sun, the sun, the sun was rising from the fields

 

I got a feeling I just can't shake
I got a feeling that just won't go away
You've gotta just keep on pushing and, keep on pushing and
Push the sky away

 

And if your friends think that you should do it different
And if they think that you should do it the same
You've gotta just keep on pushing and, keep on pushing and
Push the sky away

 

And if you feel you got everything you came for
If you got everything and you don't want no more
You've gotta just keep on pushing and, keep on pushing and
Push the sky away

 

And some people say it's just rock and roll
Oh but it gets you right down to your soul
You've gotta just keep on pushing and, keep on pushing and
Push the sky away

 

You've gotta just keep on pushing and, keep on pushing and
Push the sky away

 

You've gotta just keep on pushing and, keep on pushing and
Push the sky away

Com uns diazitos de atraso.

ICCARRE World AIDS Day (4min) from Blanca Li on Vimeo.

https://www.iccarre.net/

Director and choreopgraphy Blanca Li
with Tilda Swinton
and the dancers from the Blanca Li Dance Company : Slate Hemedi, Alexandra Jezouin, Julien Gaillac, Joseph Gebrael

Special thanks to Nick Cave for the music Love Letter
Creative director Jerry Stafford
Wardrobe Susan Lu
Hair Nounzio Carbone
Makeup Karim Rahman

Set Studio Calentito 134

Production company UTURN Première Heure
executive producer Elisabeth Fabri
editor Mario Battistel
color garding Sylvain Canaux
Post production Saint Louis / Première Heure - Louis Arcelin

Coordination Christine Bergstrom

Love Letter
performed by Nick Cave and the bad seeds
written by Nick Cave
published by Mute Songs Ltd
courtesy of Mute Records Ltd/ BMG rights management
Thank you to all the people that made this film possible
Richard Cross / Association Les Amis d'Iccarre / Maria Cornejo (ZERO collection) Lina Audi (LIWAN collection) / Studio Calentito 134, Hamilton Hodell, Catherine Miran, Haley Lim, Atelier 68, BMG Company, St Louis Post House, Schmooze.

 

From i-D magazine:

You probably aren’t aware of ICCARRE and Dr Leibowich, the French immunologist at the forefront of a series of trials looking at the effects of reducing HIV medication in the treatment of patients. In English, the name ICCARRE translates as “taken in short cycles, anti-retrovirals remain effective.” During two clinical trials involving 94 patients taking the standard “triple cocktail” combination of drugs, seven days a week, Dr Leibowitch reduced their treatment plan to just four days a week with 100% success rate. The relief of both the psychological and the physical consequences of daily medication is immeasurable.

Love Letter

I hold this letter in my hand
A plea, a petition, a kind of prayer
I hope it does as I have planned
Losing her again is more than I can bear
I kiss the cold, white envelope
I press my lips against her name
Two hundred words. We live in hope
The sky hangs heavy with rain

 

Love Letter Love Letter
Go get her Go get her
Love Letter Love Letter
Go tell her Go tell her

 

A wicked wind whips up the hill
A handful of hopeful words
I love her and I always will
The sky is ready to burst
Said something I did not mean to say
Said something I did not mean to say
Said something I did not mean to say
It all came out the wrong way

 

Love Letter Love letter
Go get her Go get her
Love Letter Love letter
Go tell her Go tell her

 

Rain your kisses down upon me
Rain your kisses down in storms
And for all who'll come before me
In your slowly fading forms
I'm going out of my mind
Will leave me standing in
The rain with a letter and a prayer
Whispered on the wind
Come back to me
Come back to me
O baby please come back to me

Shivers

The Birthday Party (originally known as The Boys Next Door) were an Australian post-punk band, active from 1978 to 1983. Despite limited commercial success, The Birthday Party's influence has been far-reaching, and they have been called "one of the darkest and most challenging post-punk groups to emerge in the early '80s." The group's "bleak and noisy soundscapes," which drew irreverently on bluesfree jazz, and rockabilly, provided the setting for vocalist Nick Cave's disturbing tales of violence and perversion. Their music has been described by critic Simon Reynolds as gothic, and their single "Release the Bats" was particularly influential on the emerging gothic scene.