Influences: Borusiade

I discovered Ingmar Bergman’s work at quite an early age and it became of my leaders through film school study as well as after and I still can’t stop getting so much inspirational input whenever I watch his films again
I chose this scene from “The Seventh Seal” its beautiful metaphysical dimension, so typical for Bergman and the sombre yet playful atmosphere – the knight plays chess with death whens he comes to take him, in order to win more time.

I love Jarmusch’s work, each and every movie he did and “Dead Man” in particular: its slow development, its photography (I have definitely a soft spot for Black and White ), the simple yet again playful philosophy behind it.
Intelligent directors are always capable of talking about heavy philosophical themes with disarming ease and humour
This is one of my favourite moments of this film where Nobody recites a verse of William Blake.

Andrei Tarkovsky is another master that lead me through my artistic development, inspired me and still does. I feel I still didn’t understand all the layers of his work and probably, the more I watch his movies again, the more I have to discover and to understand.
I remember sitting in the dark of the cinema as a future film student in Bucharest and watching this sequence of profound and breath-taking beauty and never wanting it to end:
in the spaceship, far away from earth – a room filled with selected relics of humanity’s culture and civilisation looses gravity and lets the two characters float through the air, accompanied by a classical piece of J.S.Bach in the Russian contemporary composer Edward Artemiev’s modern synth version.
Beneath it all breathes the thinking ocean.

This sequence encompasses two geniuses that I want to mention : Pier Paolo Pasolini and Wolfgang Amadeus Mozart. The mother theme in this massive movie , “Oedip Rex” has its essence in this sequence of disarming simplicity. Mozart’s String Quartet No. 19 in C, K. 465 called “Disonance” is extremely atypical for his usual compositions, sounding bizarre and suspenseful yet wise and dramatic. Giocasta, Oedipus mother, interpreted by Silvana Mangano watches us with a desperate gaze, as if she would know the future of her child already, while breast-feeding him. This sequence is like a key to the whole film.

What a brilliant analogy – Fritz Lang’s “Metropolis” and Kraftwerk’s music as a soundtrack. I believe they were made for each other just at 50 years of distance. The film is in my top favourite works of art ever made by human kind, because of very topical subject and also because of its perfect aesthetics. Kraftwerk’s music doesn’t need any more introductions – god fathers of electronic music. Every honest electronic music producer of today has a reason to thank to Kraftwerk.