A review of Anbessa by Mo Scarpelli-
Soundtrack by Erik K Skodvin
Written by Giocondia
Once the light exists, a troupe of shadows comes with it that parade in the infinite dance of time, alternating their order in the unlimited reason of its existential logic, reality then is a lot of angles, spheres, perspectives, eyes and consciences tied to an eye that sees everything, is omniscient, and persists as a creative force, which does not make way for one emanation without leaving a trace in another, which, like consciences, are strangely tied to each other, and one is not born without let another perish, like the return of a song that reverberates in the memory of the infinite. What should time sound like?
Sometimes, the omniscient is a virtue that endures in the mystery that rests in the finite, the omniscient are those dreams, those words and those images that sleep in the collective consciousness, such as myths, eurekas and traces of paths already walked, gods that turn water into wine, or poems recited at dawn with different words with the same song that lingers in the mouth of the new dawn, and also welcomes dusk, a new awakening of that which light cannot reveal and then we are at the mercy of our other senses and fantasies.
Anbessa (Lion in Amharic Ethiopian) brings a little or a lot of this: myth and reality, light and shadows, reality or fantasy, an exquisite corpse, a sonorous haiku or a prose song singing Plato’s cave. I admire those stories that seem so much like reality, but they jump through the shores that limit it, they are an unpredictable coral and much of this has to do with their humble nature, that without some kind of greed they become ambition and they relate in unmistakable intimacy showing beauty without pursuing it. Thus, it is how we are invited to the life of a mother and her son, Asalif, who fixes and makes small experiments with what he finds in the rubble, wants to bring light to his house and his mother of course, this is how he succeeds, led by This fear that they conceive in the dark, they fear that the hyenas will attack them but they can only listen to them, Asalif, tired of fear, begins to create a shamanic relationship with his fears and the close relationship between him, and his imaginary sound of his universe, takes us on his endless journeys to the hill where he, turned into Anbessa, sings to Selassie, sings to his fears and sings to him to the force that roars in him like a Lion, in the middle of the two giants who stalk them. him and his mother: the past and the future.
Erik K Skodvin, was in charge of telling the story of Anbessa, in which he worked only unlike his first foray into the world of cinema in a thriller called Darling (2017), with more than 20 years of career as a creator and music producer, his eclectic sounds and organic compositions that he generally uses in his music, also bet on the creation of spaces and aesthetic sensations through the concrete, through the ethereal, and through Asalif, from a track and the Reading a psychological trace or an arcane, recovers in many ways, the value of transmitting, of communicating in appearance, what sometimes does not literally want to communicate, however, the film, although all the time it is a spiritual song, the A precarious child, he soon becomes a man because of early adversity, but no matter how much he is a man, he does not leave his spirit or his eternal child, thus one travels in the heart of his intimacy.
A bit of this sound magic, which brings a bit of darkness, but also does not leave an absence for light, in the midst of these two irremediable truths, in the midst of harsh reality, the narrowness between sounds and dreams persists, as if the destiny of Asalif in the hands of chance, was perfectly tied to the greatness of a universal promise, related to the intimacy in which desires, innocence and the unknown, Skodvin, recreates sonic universes that excavate the essence in execrable reason of an organism I live in the soul of a film that urges to tell something important in its deafening roar, the scenarios recreated through the Anbessa universe, the story of Asalif and its deep encounter with fear, speaks in itself, of the history of all men through time.
To end the exercise of this brief reading, I invite you to see the film directed by Mo Scarpelli, official selection at the 69th Berlin film festival, delicious to see, as well, and to complete the trip, I recommend listening to Erik’s work K Skodvin, to slip between the roots of his sounds and the irrepressible force that leads him to execrate what in essence has no sound, but recreates it just as the pioneers gave voice to the wind, created the verb and gave names to things.
Check in the following link the Documentary film Anbessa, directed by Mo Scarpelli in 2019. Available in 6 languages and all worldwide territories there !
Buy and listen the album of Anbessa in the next link: