A reed whose stem is shaken by the power of Zephyrus and Boreas, standard-bearers of the struggle amongst contraries; a string, tighten and unruly, stubbornly fighting the luthier’s fingers. Or, why not, the puzzling conundrum opposing flesh to spirit, Manichean thinking of Greeks and Christians that once marked the thin line dividing both realities…These are only some of the images a few sublime scholars have used (In illo tempore: in those times) to explain the concept of equilibrium: size, measure or harmony, however you choose to call the whimsical quality of human nature. This ever-present idea of Budas, Christs and ascetics has driven many unsuspecting thinkers crazy, when, be it by conviction, be it by need-sometimes one has to candidly believe some lies in order to eat, or otherwise end up rambling wildly- they devote their lives to search for that ultimate harmony making sense of things. Maybe it is in cinema music where this duality shows itself more evidently, displaying the abyss sometimes existing between director and musician. Cervantes, not a Buda, nor a Christ, no ascetic either, is just a narrator in search of the complicity binding both plots, that is: the musical plot and the literary one. Thanks to his work’s originality, the so sought after balance in a film is displayed before the spectator.
Searching in my selective, fanciful memory, I find some of Cervantes’s works (talent and trade mark imagination), that can make sense of all that has been presented so far. Works as You are the one, Merry-go-round 1950, Story of a Kiss or Innocent Assassins, are living proof of something changing in the Spanish musical map. Perhaps Innocent Assassins’s score, film directed by Sevilla-born Gonzalo Bendala, is the best to get a glimpse of Cervantes’ innovative personality, a true keeper of the bond between music and image. Pablo’s work spans cleverly through all the genre film’s patterns, providing enough balance to the story to make of this made in Spain thriller an interesting exercise in cinematographic tension. The tempo is spot on because nothing is left to improvisation. The musician acts as a master of ceremonies, weaving delicate melodies and, in doing so, dismounting the spectator’s perception, an act of anticipation very dear to this musical genre. The tension is cut short near the end by a music conveying eternal gratitude, bearing inside an emotional conversation. The glances in the protagonists’ eyes, echoing liberation and forgiveness (absque culpa), become in Pablo Cervantes’s hands the perfect, emotional end. His direct, unspoiled music thaws the emotions and makes more credible the plot, something indispensable for this kind of story to work. Innocent Assassins means a step further in his versatile career, proving, piece after piece, the original nature of his handwriting.
The Museum-- レーベルより
発売日：2018.5.22
トラックリスト
01. ELIMINAR A QUIEN SUFRE 02. CITA CON ESPINOSA 03. ASALTADO 04. QUIERO MORIR-DINERO- LO MATAMOS NOSOTROS 05. PRIMER INTENTO 06. ENTRANDO AL PISO 07. EL PUENTE 08. RECORDANDO HERMANA 09. TENEMOS A TU PADRE- NO ESTAS SOLO 10. CONVERSACION TELEFONO Y HOSPITAL 11. EN EL TALLER 12. DISCUSION EN EL MCKINLEY 13. ESPINOSA HA MUERTO 14. ENDING CREDITS 01 15. ENDING CREDITS 02
死に固執する教授と欲望に取り憑かれた学生たちとの交錯する緊張と葛藤を描く、超一級クライム・サスペンス！2015年スペイン映画のサウンドトラック。
トラックリスト◆死に固執し狂気に満ちた教授が提示する“死の取引”とは―。
教授と男子学生4人、それぞれの思惑が交錯し流れゆく運命を描くクライム・サスペンス! !
借金と大学卒業の危機。窮地に立たされた男に救いの手を差し出す心理学教授が提示した、死の取引の目的とは一体! ?
多額の借金、成績改ざん、報酬の行方など、それぞれが抱える思惑と欲望が交錯する時、すべての歯車が狂い始める…!
教授が固執する死への動機が明らかになる時、流れゆく運命に翻弄された男たちは衝撃の結末を知ることに! 超一級の緊迫クライム・サスペンスが誕生した!
◆謎が謎を呼ぶツイストの効いたスリルの連続! 物語は誰も予測できない驚愕のクライマックスを迎える! !
死を求める教授が提示した成績改ざんと多額の報酬に導かれ、犯罪者となる覚悟を決めた男たち。
それぞれの思惑がうごめき出し、やがて教授が秘める謎が明らかに! 男たちの誘惑の果てには一体どんな代償が待ち受けているのか。
数奇な事態に直面した人間の揺れ乱れる繊細な心の描写と、謎が謎を呼ぶスリリングなストーリー展開で、ラストまで目が離せない!
◆鬼気迫る演技に圧倒! ベテラン俳優ミゲル・アンヘル・ソラが怪演!
人気急上昇中の若手俳優陣との共演にも注目! !
数々の名作に出演するベテラン俳優ミゲル・アンヘル・ソラが、謎に包まれた狂気の教授を熱演! 観る者を作品に引き込む、実力派俳優としての底力を証明した一作に仕上がっている!
また、若者を中心に絶大な人気を誇り、俳優としても活躍するモデル出身のマキシ・イグレシアスや、『ロスト・ボディ』のアウラ・ガリード、
『スラッシャーパーティー』のルイス・フェルナンデスなど、スペイン映画界を担う若手俳優との共演にも注目!
◆マラガ・スペイン映画祭正式出品作品! 世界の映画祭で高評価を得た話題作! !
本国で最大級の規模を誇る映画祭、マラガ・スペイン映画祭に正式出品され話題に!
その評価は海を渡り、アメリカのマイアミ国際映画祭やベルギーのブリュッセル映画祭などでも出品を果たし絶賛された話題作!
【STORY】
父が作った多額の借金を抱え、執拗な取り立ての日々に苦しむ大学生のガラルダは、単位不足で卒業までもが危ぶまれ、人生最大の崖っぷちに立たされていた。そんな時、心理学教授のエスピノーサから、成績改ざんと引き換えにある取引を持ちかけられる。それは、己自身の殺害依頼だった。即座に拒否するガラルダだったが、この“特別課題”をクリアできれば多額の報酬をも手に入れられると知り、大学の仲間3人を巻き添えにして行動に出る。しかし、罪の意識を捨てきれないガラルダたちの犯行は決して完璧なものではなく、エスピノーサの息の根を止める一手を打てないでいた。さらに、ガラルダの借金返済の期日が翌日に迫り、痺れを切らした取り立て人から命を狙われてしまう…。
Tense balance
A reed whose stem is shaken by the power of Zephyrus and Boreas, standard-bearers of the struggle amongst contraries; a string, tighten and unruly, stubbornly fighting the luthier’s fingers. Or, why not, the puzzling conundrum opposing flesh to spirit, Manichean thinking of Greeks and Christians that once marked the thin line dividing both realities…These are only some of the images a few sublime scholars have used (In illo tempore: in those times) to explain the concept of equilibrium: size, measure or harmony, however you choose to call the whimsical quality of human nature. This ever-present idea of Budas, Christs and ascetics has driven many unsuspecting thinkers crazy, when, be it by conviction, be it by need-sometimes one has to candidly believe some lies in order to eat, or otherwise end up rambling wildly- they devote their lives to search for that ultimate harmony making sense of things. Maybe it is in cinema music where this duality shows itself more evidently, displaying the abyss sometimes existing between director and musician. Cervantes, not a Buda, nor a Christ, no ascetic either, is just a narrator in search of the complicity binding both plots, that is: the musical plot and the literary one. Thanks to his work’s originality, the so sought after balance in a film is displayed before the spectator.
Searching in my selective, fanciful memory, I find some of Cervantes’s works (talent and trade mark imagination), that can make sense of all that has been presented so far. Works as You are the one, Merry-go-round 1950, Story of a Kiss or Innocent Assassins, are living proof of something changing in the Spanish musical map. Perhaps Innocent Assassins’s score, film directed by Sevilla-born Gonzalo Bendala, is the best to get a glimpse of Cervantes’ innovative personality, a true keeper of the bond between music and image. Pablo’s work spans cleverly through all the genre film’s patterns, providing enough balance to the story to make of this made in Spain thriller an interesting exercise in cinematographic tension. The tempo is spot on because nothing is left to improvisation. The musician acts as a master of ceremonies, weaving delicate melodies and, in doing so, dismounting the spectator’s perception, an act of anticipation very dear to this musical genre. The tension is cut short near the end by a music conveying eternal gratitude, bearing inside an emotional conversation. The glances in the protagonists’ eyes, echoing liberation and forgiveness (absque culpa), become in Pablo Cervantes’s hands the perfect, emotional end. His direct, unspoiled music thaws the emotions and makes more credible the plot, something indispensable for this kind of story to work. Innocent Assassins means a step further in his versatile career, proving, piece after piece, the original nature of his handwriting.
The Museum-- レーベルより
発売日：2018.5.22
01. ELIMINAR A QUIEN SUFRE
02. CITA CON ESPINOSA
03. ASALTADO
04. QUIERO MORIR-DINERO- LO MATAMOS NOSOTROS
05. PRIMER INTENTO
06. ENTRANDO AL PISO
07. EL PUENTE
08. RECORDANDO HERMANA
09. TENEMOS A TU PADRE- NO ESTAS SOLO
10. CONVERSACION TELEFONO Y HOSPITAL
11. EN EL TALLER
12. DISCUSION EN EL MCKINLEY
13. ESPINOSA HA MUERTO
14. ENDING CREDITS 01
15. ENDING CREDITS 02