a concert film would be correct and also drastically inadequate. What unfolds onscreen is no mere performance, no mere gesture, but a face-to-face between presence and absence. Beginning its theatrical run just before the one-year anniversary offrom cancer, at 71, the handsome film is a testament to the artistic spirit and, above all, an act of love — by the performer, who was facing mortality and thinking of legacy, and by the director, Nero Sora, who is Ryuichi Sakamoto’s son.
Reconfiguring some of the compositions, a few of which he’d never before performed publicly on solo piano, Sakamoto travels through a varied musical terrain: quiet passages, melodic lyricism, bursts of thunderous churning. For one number, he creates a so-called prepared piano by placing screws and bolts on the strings to produce an un-piano-like sound.
In the music’s subtle interplay of tradition and modernism, the selections are distinct and connected, quoting and commenting on one another with a quickening intensity as the film proceeds. Sakamoto is not just revisiting his compositions but rediscovering them. Searching, communion and occasional delight play upon his face; he’s still creating,
Nero builds this wordless drama with silvered black-and-white imagery and shifts in light that suggest a movement toward night.
Source: Entertainment Trends (entertainmenttrends.net)
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