“In 2012, equipped with sound recording devices, speakers, percussion and cameras, co-producer, Jonathan Uliel Saldhana, camera man, José Roseira, percussionist, Gustavo Costa, and Raz Mesinai, go deep inside one of the oldest underground mines in all of Europe, dating back thousands of years. After descending hundreds of feet beneath the earth, they begin to encounter paranormal sounds, which they spend weeks recording, finding themselves lost in a labyrinth, surrounded by mysterious sounds and no way out.
Incorporating footage and sound recordings from his underground expeditions, Raz Mesinai blurs the line between reality and fiction, creating a dream like narrative of darkness at its darkest.”
Written & directed by Raz Mesinai
Produced by Raz Mesinai & Jonathan Uliel Saldanha
Music by Jonathan Uliel Saldanha
“As a composer in the post-dub era, Jerusalem-born and New York-raised Raz Mesinai has spent the past 25 years burrowing under the surface realms of genre and song format to find a reverberant sonic space of his own. With Tunnel Vision (Tzadik), his filmmaking debut, Mesinai takes that burrowing to another level by tying together the praxes of tunneling, sound composition and non-linear narrative.
Tunnel Vision centers around an amorphous group of three to five people finding and exploring one of the many ancient mines under the city of Porto in Portugal. The film is skillfully directed and edited by Mesinai—who many would know for his work in underground electronic music as Sub Dub and Badawi—and scored by fellow experimental-dub artist Jonathan Uliel Saldanha, who among other projects fronts the Porto-based “voodoo-dub” outfit HYY & the Macumbas.
Mesinai establishes the subversive nature of tunneling early in the film. As the director explains his fascination with the underground via voiceover, a character designated Geo-Phone Bob—headphoned, suited in orange and twiddling knobs on a box—performs a cryptic, surveyor-style metering ritual on a street corner at night that draws the scrutiny of a security guard watching him from 20 feet away. Clearly, even preparing for the act of going underground is subject to monitoring on the surface…
Saldanha’s abstract score is performed by Mesinai and a crew of 9 others including the composer himself. Saldanha blends bass, percussion, winds, electronics and some intense wailing by Jessika Kenney and Catarina Miranda to create a ritualized atmosphere to the proceedings that proves both hypnotizing and extremely effective.
Related to this, Tunnel Vision extends a narrative format that Mesinai calls “Dub Fiction” and describes as “a form of storytelling utilizing various mediums of modern technology to create elastic narratives which can be manipulated and, essentially, remixed by others.” In short, storylines and plots can resemble sound signals that can be routed through and effected by various filters. A storyline can decay or become reverberant, and aspects of it can echo or face other effects of repetition.”
read the full article here on Souciant
by Ron Nachmann on Apr 8, 2013
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