The Lives Against Sinead O’Connor and Courtney Barnett in the music documentaries of the 63rd Festival dei Popoli in Florence from 5 to 13 November.
The flame that burns and goes out in the career of Sinead O’Connor in Kathryn Ferguson’s Nothing Compares; Strokes and Interpol’s latest glorious season of rock in the NYC in the New York Times in Will Lovelace and Dylan Southern’s Meet Me in the Bathroom; the portrait of one of the fathers of modern jazz, Thelonious Monk, in Alain Gomis’ Rewind & Play; the touching story of the “barefoot diva” Cesária Évora and the belated recognition of her talent; the unprecedented intimate access into the life of the anti-influencer singer-songwriter Courtney Barnett in Anonymous Club by Danny Cohen, the dimension between public and private of the singer-songwriter Giovanni Truppi in “The noise of the Universe” by Gabriel Azorin and the avant-garde world of Yann Keller, who produces and recycles the tools for his art in “Not Available – It’s About Yann Keller “by Federico Savonitto and Gianni Sirch. These are the stories of the first Italian documentaries scheduled for the 63rd edition of Festival of Peoples 2022 – in the section of the festival dedicated to music, Let The Music Play – to be held in Florence from 5 to 13 November at the La Compagnia cinema and in other places in the city.
“The selection of this edition fills us with pride – says Emanuele Sacchi, curator of Let The Music Play – and is aimed at a diverse audience. To lovers of rock, jazz, avant-garde, to those who are sensitive to the issues raised by a controversial character like Sinead O’Connor and to those who want to discover the hidden side of Thelonious Monk or Giovanni Truppi. Six heterogeneous films but united by the search for directors who intend to leave the more traditional canon and skillfully mix the story of the musician and the person, of the public and private spheres, to better understand what happens behind the scenes of the music we love most “.
Six documentaries that open the doors of music to cinema, with the stories of the phenomena that have left their mark in the cultural furrow of the present. Nothing Compares (2022) by Kathryn Ferguson revisits the artistic parable of the Irish singer-songwriter Sinead O’Connor, politically intransigent and harassed by the media for instances that in the present have become an element of union and sharing. Thelonious Monk lives again in Alain Gomis’ “Rewind & Play” (2022), which shows the sensitivity of the great jazz pianist in contrast with the rigid schematism of television needs: a lion in a cage, free to express himself only in front of his piano. Adapting the text by Lizzy Goodman, the directors of “Meet Me in the Bathroom” (2022) reconstruct with extraordinary archive images the New York of the Zeroes, theater of the last season of rock as the ruler of the music scene. Before Spotify and liquid music, before hip hop and electronics spread everywhere, the names of The Strokes, Interpol, Yeah Yeah Yeahs composed a movement made of great music and unattainable coolness. “Anonymous Club” (2021) by Danny Cohen takes us alongside the Australian singer-songwriter Courtney Barnett, an introverted performer who, at the height of her success, is confronted with sudden emotional ups and downs: the director, her collaborator, follows her in three years during the which, between concerts and vulnerability, Barnett strenuously seeks his own place in the world. “Cesária Évora” (2022) by Ana Sofia Fonseca is the portrait of the great Cape Verdean artist, the “barefoot diva”, who died in 2011 and remained almost anonymous for half a century until the belated but necessary international relaunch, which made a world star; “The noise of the universe” (2022) by Gabriel Azorin opens an insight into the work and private life of Giovanni Truppi, a talented singer-songwriter, who also landed on the Sanremo stage with his personal and unusual proposal. From the stages you descend into the underground, with “Not Available – It’s About Yann Keller” (2022) by Federico Savonitto and Gianni Sirch: a look at the life of the industrial artist Yann Keller, an avant-garde musical performer who recycles and transforms in Berlin the most unusual objects, to make musical instruments.
Nothing Compares: Sinéad O’Connor’s controversial career in the documentary trailer
The event – chaired by Vittorio Iervese, under the artistic direction of Alessandro Stellino and the organizational one of Claudia Maci – will present the best of world documentary cinema in a program accompanied by numerous international and national guests which will be announced in full at the press conference scheduled for Florence for Monday 24 October.