flandre NO! SPIT FUMO FLAN OUT NOW!

THE SECRETS OF SMOKE (no)my new song!In this work, almost nothing was done by chance. Take, for example, the lyrics of the song: the words cigarette and smoking are never mentioned, yet they are the absolute protagonists. The goal was and is to turn a light on the problem, without leaving a trace of the problem itself, I have to send a strong message to get people to reflect. If I put a cigarette in his mouth, even with just a word, I have failed my goal.For such an important message, it was necessary not to resort to the outdated musical canons, which characterize many songs we hear: verse, pre-chorus, chorus, verse, special, pre-chorus, chorus ... .. but to build an "anomalous" path that induce the listener to question himself about what he hears, and then deepen what he has heard. To achieve this goal, I felt the need to insert, in the context of the piece, sections of "suspended music", precisely to create the effect of expectation and reflection.Another key feature of the song is that, rather than listening to it, you get a great desire to sing it ... you would like to have the words at hand, to accompany what you hear, to be equally protagonist of this great message that shines through! All of this helps to establish, deeper into one's subconscious, how harmful and dangerous smoking is.Do we want to turn the spotlight on the video? Well, as you can see from the images, there is no reference to the world of smoking in general from start to finish. So no cigarettes, no matches or lighters, no packs of cigarettes, no broken cigarettes or thrown on the ground just to represent the content of the song itself. And the dancers? They do not make any act or mimic that could allude in any way to the smoking habit! The smoke on the finish? It represents a mist that unfolds, a problem that is resolved, this is confirmed and sealed by the embrace of the dancers.The dancers mimic the text, a quarrel, a discussion, where one tries to convince the other to give up that damn vice!The lyrics of the song make no distinctions about sex, but the video does, there is a very important reason: for every male smoker who gets sick, unfortunately there are five female smokers who get sick! So I insisted that boys be begging girls to stop smoking!https://www.facebook.com/watch/?v=972175539931723I SEGRETI DI SMOKE (no)la mia nuova canzone!In questo lavoro, quasi nulla è stato fatto per caso. Prendiamo, per esempio, il testo della canzone: le parole sigaretta e fumare non vengono mai menzionate, eppure sono le protagoniste assolute. L’obiettivo era ed è quello di accendere un faro sul problema, senza lasciare traccia del problema stesso, devo lanciare un messaggio forte per indurre le persone a riflettere. Se gli metto la sigaretta in bocca, anche semplicemente con la sola parola, ho fallito il mio obiettivo.Per un messaggio così importante, era necessario non ricorrere ai desueti canoni musicali, che caratterizzano molte canzoni che sentiamo: strofa, pre-ritornello, ritornello, strofa, special, pre-ritornello, ritornello….. ma costruire un percorso “anomalo” che inducesse l’ascoltatore ad interrogarsi su ciò che sente, per poi approfondire ciò che ha sentito. Per arrivare a questo obiettivo sentivo la necessità di inserire, nel contesto del brano, tratti di  “musica sospesa”, proprio per creare l’effetto di attesa e riflessione.Un’altra caratteristica fondamentale della canzone, è quella che più che ascoltarla, ti viene una gran voglia di cantarla… vorresti avere le parole sottomano, per accompagnare ciò che senti, per essere in egual modo protagonista di questo grande messaggio che traspare! Tutto questo aiuta a fissare, più in profondità nel proprio subconscio, quanto sia dannoso e pericoloso fumare.Vogliamo accendere i riflettori sul video? Bene, come potete vedere dalle immagini, non compare, dall’inizio alla fine, nessun riferimento al mondo del fumo in generale. Quindi niente sigarette, niente fiammiferi o accendini, niente pacchetti di sigarette, niente sigarette spezzate o gettate per terra anche solo per rappresentare il contenuto della canzone stessa. Ed i ballerini? Non fanno nessun atto o mimica che possa alludere in qualsiasi modo al vizio del fumo! Il fumo sul finale? Rappresenta una nebbia che si dipana, un problema che si risolve, questo viene confermato e suggellato dall’abbraccio dei ballerini.I ballerini mimano il testo, un litigio, una discussione, dove uno cerca di convincere l’altro ad abbandonare quel maledetto vizio!Il testo della canzone, non fa distinzioni di sesso, ma il video si, è c’è una ragione importantissima: per ogni fumatore che si ammala, purtroppo ci sono cinque fumatrici che si ammalano! Così ho insistito che fossero i ragazzi maschi ad implorare le ragazze di smettere di fumare! #newsong #newsongs #newsongalert #newsongcomingsoon #newsong2020 #newsongofmine #newsongcoming #newsongcampusministry #newsongidea #newsongisoutnow #newsongrelease #newsongbismarck #NEWSONGSCOMING #newsongscomingsoon #newsongsforkids #NewSongsFromTheBriarPatch #newsongsoon #newsongstoo #newsongworship

[Cinepocalypse Review] SNOWFLAKE is a gonzo German crime fantasy

New Post has been published on https://nofspodcast.com/cinepocalypse-review-snowflake-gonzo-german-crime-fantasy/

[Cinepocalypse Review] SNOWFLAKE is a gonzo German crime fantasy

Bizarre. Clever. Ridiculous. Entertaining.

These are all adjectives that I would use to describe German crime fantasy Snowflake. The film recently won a pair of awards at CINEPOCALYPSE, including Breakthrough Filmmaker for Arend Remmers & William James and the coveted Audience Award. I can’t say that I’m surprised; this is the kind of film that genre fans go absolutely nuts for.

The main reason Snowflake works? It’s got a kicky premise.

In a nutshell: after Eliana (Xenia Assenza)’s parents are gunned down in a doner restaurant shoot-up, the rich young orphan and her bodyguard Carson (David Masterson) hire a series of (increasingly ridiculous) assassins to take out the killers, Tan (Erkan Acar) and Javid (Reza Brojerdi). While fending off these attempts, the boys discover that they  are protected by the titular angel Snowflake (Judith Hoersch). Also: their lives – including a foreshadowed bloody fate – is actually the plot of a crime film written by amateur screenwriter and full time dentist, Arend Remmers (Alexander Schubert).

So not only is Snowflake a demented crime fantasy with outrageous set-pieces, it is a hilariously demented self-referential comedy.

It should be noted that absolutely none of that plot synopsis is a spoiler. All of these details are revealed in the first few scenes when Tan and Javid find a copy of the screenplay in the backseat of their car and discover that it depicts all of their movement and dialogue beat by beat. (Actual) screenwriter Remmers milks this premise for all of its comedic value throughout the film, especially when the killers seek out his fictitious proxy for answers and he recites their dialogue verbatim in real time with them. That encounter ends with the dentist on the receiving end of his drill and the thugs on a mission to alter their own seemingly pre-ordained deaths.

It’s no surprise that the Tan and Javid scenes are often the most enjoyable in the film. Not only do Acar and Brojerdi have an easy going chemistry, their characters are such amateur idiots that you can’t help but root for Tan and Javid to survive. This puts Assenza and Masterson is a slightly unenviable position: Eliana and Carson are seemingly unaware of the divine intervention driving their actions, which makes their side of the story more mundane and straightforward. They’re also slightly underdeveloped; we learn little about Eliana beyond her desire for vengeance and her affection for Carson, who seeks only to protect his charge from further harm.

It’s just really hard to invest in these mopey, morose characters when every few minutes a new bizarre character is being introduced. The assassins are legitimately insane: a pair of brothers who wear rubber pig and chicken masks are usurped by bar owners Rashid (Selam Tadese) and blind Fumo (Eskindir Tesfay) who keep a robot houseboy – named, I kid you not, Shit-Bot – chained up with no explanation. There’s also masked vigilante Hyper Electro Man (Mathis Landwehr) and even an evil Nazi sympathizer Reinhardt (Bruno Eyron) who has a Bond villain lair with masked henchmen. It’s all so silly, dumb and fun you can’t help but grin.

How all of these characters fit together is half of the fun of Snowflake, which barrels forward with endless enthusiasm and gleeful destructive joy. Whenever the film seems to establish a rhythm, a new narrative device is thrown into the mix: chapter titles, action that doubles back on itself, a seemingly unrelated archival talking head interview and a visualization of Remmers’ self-referential screenplay typed directly over Tan and Javid‘s scenes. If any of this sounds reminiscent of a certain experimental crime director/enfant terrible who came to prominence in the mid-90s <cough Tarantino cough>, it’s hard to avoid the obvious comparison.

Hidden amidst the graphic violence, dystopian fantasy and occasional torture porn scenes is an interesting mediation on the origins of violence. Tan and Javid share Eliana‘s origin, suggesting that their terrible history is to blame for hers in an endless cycle where violence begets violence. Unfortunately any nuance of this gets lost in the cacophony of gunfire, vivisection and an exhausting two hour run time. Snowflake may have interesting things to say, but its principle purpose, first and foremost, is to entertain.

In that arena, the film is a pretty clear winner. It’s a gong show, packed (sometimes to a fault) with outrageous scenes and characters and hilariously self-referential comedy. Grab some cheap wine, a bunch of rowdy friends and check this one out.

2.5/4 eberts

  Snowflake had its North American premiere at Cinepocalypse.

[Cinepocalypse Review] SNOWFLAKE is a gonzo German crime fantasy

New Post has been published on https://nofspodcast.com/cinepocalypse-review-snowflake-gonzo-german-crime-fantasy/

[Cinepocalypse Review] SNOWFLAKE is a gonzo German crime fantasy

Bizarre. Clever. Ridiculous. Entertaining.

These are all adjectives that I would use to describe German crime fantasy Snowflake. The film recently won a pair of awards at CINEPOCALYPSE, including Breakthrough Filmmaker for Arend Remmers & William James and the coveted Audience Award. I can’t say that I’m surprised; this is the kind of film that genre fans go absolutely nuts for.

The main reason Snowflake works? It’s got a kicky premise.

In a nutshell: after Eliana (Xenia Assenza)’s parents are gunned down in a doner restaurant shoot-up, the rich young orphan and her bodyguard Carson (David Masterson) hire a series of (increasingly ridiculous) assassins to take out the killers, Tan (Erkan Acar) and Javid (Reza Brojerdi). While fending off these attempts, the boys discover that they  are protected by the titular angel Snowflake (Judith Hoersch). Also: their lives – including a foreshadowed bloody fate – is actually the plot of a crime film written by amateur screenwriter and full time dentist, Arend Remmers (Alexander Schubert).

So not only is Snowflake a demented crime fantasy with outrageous set-pieces, it is a hilariously demented self-referential comedy.

It should be noted that absolutely none of that plot synopsis is a spoiler. All of these details are revealed in the first few scenes when Tan and Javid find a copy of the screenplay in the backseat of their car and discover that it depicts all of their movement and dialogue beat by beat. (Actual) screenwriter Remmers milks this premise for all of its comedic value throughout the film, especially when the killers seek out his fictitious proxy for answers and he recites their dialogue verbatim in real time with them. That encounter ends with the dentist on the receiving end of his drill and the thugs on a mission to alter their own seemingly pre-ordained deaths.

It’s no surprise that the Tan and Javid scenes are often the most enjoyable in the film. Not only do Acar and Brojerdi have an easy going chemistry, their characters are such amateur idiots that you can’t help but root for Tan and Javid to survive. This puts Assenza and Masterson is a slightly unenviable position: Eliana and Carson are seemingly unaware of the divine intervention driving their actions, which makes their side of the story more mundane and straightforward. They’re also slightly underdeveloped; we learn little about Eliana beyond her desire for vengeance and her affection for Carson, who seeks only to protect his charge from further harm.

It’s just really hard to invest in these mopey, morose characters when every few minutes a new bizarre character is being introduced. The assassins are legitimately insane: a pair of brothers who wear rubber pig and chicken masks are usurped by bar owners Rashid (Selam Tadese) and blind Fumo (Eskindir Tesfay) who keep a robot houseboy – named, I kid you not, Shit-Bot – chained up with no explanation. There’s also masked vigilante Hyper Electro Man (Mathis Landwehr) and even an evil Nazi sympathizer Reinhardt (Bruno Eyron) who has a Bond villain lair with masked henchmen. It’s all so silly, dumb and fun you can’t help but grin.

How all of these characters fit together is half of the fun of Snowflake, which barrels forward with endless enthusiasm and gleeful destructive joy. Whenever the film seems to establish a rhythm, a new narrative device is thrown into the mix: chapter titles, action that doubles back on itself, a seemingly unrelated archival talking head interview and a visualization of Remmers’ self-referential screenplay typed directly over Tan and Javid‘s scenes. If any of this sounds reminiscent of a certain experimental crime director/enfant terrible who came to prominence in the mid-90s <cough Tarantino cough>, it’s hard to avoid the obvious comparison.

Hidden amidst the graphic violence, dystopian fantasy and occasional torture porn scenes is an interesting mediation on the origins of violence. Tan and Javid share Eliana‘s origin, suggesting that their terrible history is to blame for hers in an endless cycle where violence begets violence. Unfortunately any nuance of this gets lost in the cacophony of gunfire, vivisection and an exhausting two hour run time. Snowflake may have interesting things to say, but its principle purpose, first and foremost, is to entertain.

In that arena, the film is a pretty clear winner. It’s a gong show, packed (sometimes to a fault) with outrageous scenes and characters and hilariously self-referential comedy. Grab some cheap wine, a bunch of rowdy friends and check this one out.

2.5/4 eberts

  Snowflake had its North American premiere at Cinepocalypse.