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Thursday, July 30, 2009

Apparition press - Globe and Mail



My film Apparition of the Eternal Church is having its British Columbia premiere in the coming week - Sunday, August 2 and Sunday, August 9, at the Vancity Theatre, Vancouver International Film Centre. Today's
Globe and Mail - Canada's largest paper - has this write-up by Fiona Morrow. Excerpts:
This hour, watching headshots of individuals listening to music we can't hear, is entirely absorbing, moving – sublime, even. From invocations of religious imagery and howls of pain, to ecstasies of both the divine and the sexual, the immediate responses to the music are consistently hilarious, intelligent and primal.

...

The positive audience and critical reaction – from screenings in America and Europe, in cathedrals, concert halls and cinemas – has, he says, been overwhelming. “The reason the film is fun is, I think, the same reason that people thought it was fun to take part,” he says. “And that is because, for most of us, musical response is such an interior, hidden experience. We sit in a concert hall and we are expected to be quiet. We have to save up our emotions to the end, and the only way to express this incredibly varied experience we've had over 30 minutes or an hour, or four hours, is to shout. It's not very articulate.

“But when people can express what they are feeling as they are feeling it, it's so much more satisfying and illuminating.”

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Paul Festa’s first film, Apparition of the Eternal Church (2006, 51 min), captures the responses of 31 artists to the apocalyptic music of Olivier Messiaen (with Justin Bond, John Cameron Mitchell, Harold Bloom; screenings: Grace Cathedral, Barbican Centre, Library of Congress; “Remarkable”The New Yorker; “Stunning”Chicago Sun-Times; “Sublime”Globe & Mail; numerous awards). Festa performs the Tchaikovsky violin concerto, opposite members of the San Francisco Ballet and The Cockettes, in his award-winning second film, The Glitter Emergency (2010, 20 min), a silent-film drag ballet comedy (“Enormous visual and musical inventiveness…full of pleasure and joy...Festa gives a bravura performance."—Film Threat). He produced, wrote and edited, with director Austin Forbord, and was chief archivist, for the Emmy-nominated documentary Stage Left: A Story of Theater in San Francisco (2010, 80 min: with Robin Williams, Bill Irwin, Peter Coyote; screenings: Geary Theater, KQED; “Intriguing...entertaining...a valuable record”—Variety). Performances as violinist and actor: ODC Theater, Center for Performance Research, Kunst-Stoff, TheatreFIRST, North Bay Shakespeare, Albert Fuller's Helicon Ensemble (Merkin Hall, Weill Hall at Carnegie Hall, Alice Tully Hall). US, Boston, NYC, SF, LA and DC (Coolidge Auditorium at the Library of Congress on the “Betts” Stradivarius) premieres of Messiaen’s Fantaisie for violin and piano. He is the author of OH MY GOD: Messiaen in the Ear of the Unbeliever, based on Apparition of the Eternal Church, and several anthologized essays, and has written for The Daily Beast, Salon, Nerve, and The New York Times Book Review. Current projects include a novel and Tie It Into My Hand (2014, ca. 80 min), a documentary feature that has screened as a work in progress at the Cannes film market and at ODC Theater in San Francisco (with Alan Cumming, Gary Graffman, Peter Coyote, Mink Stole, Robert Pinsky; "A fascinating exploration of the artistic life, as rollickingly entertaining as it is insightful and stirring."San Francisco Bay Guardian). Education: Yale (B.A.; prizes, honors, distinction), Juilliard (Cert., Adv. Cert., scholarships). Residencies: Yaddo, MacDowell, ODC Theater, Centre des R├ęcollets.

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