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- You are here: Home > SILENT STORM
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Online -
Thursday, November 26, 2020 - 19:00
Written by:
Anaïs Moog
Cinematography:
Anaïs Moog
Editing:
Pierre Schlesser
Sound:
Ahmed Maalaoui, Björn Cornelius
Producer:
Gabriela Bussmann
Production:
GoldenEggProduction
With a slow, overwhelming rhythm, yet concealing a tempest that is ready to erupt - this is how the sea is witnessed from other shores: not as meditative and romantic space, but rather an immense border between two estranged worlds. ANAÏS MOOG alternates, through the use of sound and image, an immense unrest. The turbulent waters and the silence of the earth, the rocks. The resigned, calm voice of a woman laments the loss of a child, hiding in it a force that is equal to that of the waves breaking on the shore. The sea is seen as an omnipotent, passive, but powerful space, both necessary and despicable. MOOG relies on a strongly subjective and dreamlike universe, in which these people’s suffering is illustrated through the dreams they share with us. A kind of connection to an astral suffering. Death and sea, two boundless symbols, both haunted by loss. (Emil Vasilache, BIEFF 2020)
Director:
Born on December 11, 1996. After completing a preparatory year in cinema in Toulouse and a preparatory year in cinema at the École Cantonale d’Art de Lausanne (ECAL), ANAÏS MOOG began a Bachelor’s degree in September 2016 in the Cinema/ Cinéma du Réel department at the Haute École d’Art et Design de Genève. Graduated in June 2019, her film Tempête Silencieuse (Silent Storm) was selected in competition at the 72nd Locarno Film Festival.
Contact:
Yan Decoppet
Festivals, awards:
Pardino d’argento Swiss Life - Locarno 2019 / IDFA 2019 / GoShorts Nijmegen 2020 / Palm Springs ISFF 2020 / Molodist Kyiv International Film Festival 2020
„An anxious eye scans an indefinite horizon. Then the wind and the waves can be heard. Over the calm sea, a weary voice testifies, in Arabic, to the disappearance of a son. Then some rocks, some ruins, like traces, wrinkles left on the landscape, the shoreline. The sound of the waves becomes louder. The sea grows threatening. And it’s the whole spirit of Jean Epstein’s Le Tempestaire or Robert Flaherty’s Man of Aran that pervades these images. Haunted images...“I hate the sea now. I don’t want to see it anymore.” Yet there’s no anger in the voice, just a terrible feeling of resignation. The deep-blue waves proffer their tragic shroud. Then the voice evokes a dream, a visit to the kingdom of the dead, a final tribute. But the mystery remains unfathomable... And the film ends with shaky 16-mm images, like those of a gloomy dream, an appeasement that does not come.” (Bertrand Bacqué, HEAD – Geneva)