- Occupation
Director - Country
Hungary
Silló Sándor
Movie For Piano (Microcosmos)
It is never the time nor attention to devote to microcosmos stories, although the makers of old newsreels and documents recorded these micro-happenings as well, in which - based on the principle of like a drop in the ocean - the drama of the main current is reflected. Bartók`s Microcosmos is like that: its small interplays invite the picture of archive for various things at various time: contemplation, a strange dance, dramatic reciprocation or frivolous engagement.
It is never the time nor attention to devote to microcosmos stories, although the makers of old newsreels and documents recorded these micro-happenings as well, in which - based on the principle of like a drop in the ocean - the drama of the main current is reflected. Bartók`s Microcosmos is like that: its small interplays invite the picture of archive for various things at various time: contemplation, a strange dance, dramatic reciprocation or frivolous engagement.
The Band from Técső
The film’s musicians, the Técső Band live in Ukraine’s Sub-Carpathian territory, in Técső. We present them to the audience not in the form of a musical portrait but using the tools and approach of a sociographic documentary. Their lives, music and environment can hardly be shown through narratives recorded in interview situations. The extreme richness of this topic cannot be explored with edited footages linking the interviews together. We want to record live situations, “big days” and “small days” as well. Instead of using external, pre-written narration, we would like the band members to talk, being the only information source. Through this we want to shut out the outsider’s attitude from the film.
The film’s musicians, the Técső Band live in Ukraine’s Sub-Carpathian territory, in Técső. We present them to the audience not in the form of a musical portrait but using the tools and approach of a sociographic documentary. Their lives, music and environment can hardly be shown through narratives recorded in interview situations. The extreme richness of this topic cannot be explored with edited footages linking the interviews together. We want to record live situations, “big days” and “small days” as well. Instead of using external, pre-written narration, we would like the band members to talk, being the only information source. Through this we want to shut out the outsider’s attitude from the film.