I V A A S K S

Films + Things

[ivaasks]

Two summers ago I was living in Athens, editing Martin DiCicco’s All That Passes By Through A Window That Doesn’t Open.

One quiet morning, on our street in Exarhia we heard a sudden burst of gunshots... then we saw a man lying on our doorstep, bleeding. This little experiment is an attempt to process it: THEMISTOKLEOUS 88

He may have died because of lack of public funding because the hospitals - due to lack of resources - need to choose where they will dispatch their ambulances and how quickly. These details are mostly invisible to the millions of tourists dispersed over Greece’s many islands. 

These days, I’ve been thinking about FOOTNOTES...what would they look like in a film. I particularly love how Breton uses footnotes in his surrealist novel Nadja or Borges in his short stories.

“Generally regarded as an adjunct and not an integral part of the text, the footnote’s main function is to lend support to what is being said in the main corpus of the text and to reference sources…no sufficiently important to be included in the main text”. In fiction, however…footnotes here are not used “to inform, to make things known” but part of the overall creative process...Footnotes that act as forking paths, an open-ended continuation of the main narrative…or a discrepancy to it…a discovery of a labyrinthine novel in which diverse or even contradictory alternatives are followed, all co-existing simultaneously in different times and alongside each other...the footnotes’ signatory is the “Editor” which introduces yet another voice, illustrating a proliferation not only of narratives but also of authorial perspectives...”

[ivaasks]

Being deep in the production of Aleph for the past 2 years, there are a lot of collected things that get left behind. Here’s a little something that has lingered behind for a while, an experiment I wrote and filmed in Taipei ::: NATTO.  

Josephine Decker and I played around and she improvised on her narration of it. A love story of sorts. Check it out here.  (+++ go check out Josephine’s Madeleine’s Madeleine in the theaters!)

At the same time in Taipei, I ventured off to the flea market and discovered this gem of a record. The last song on side B is beautiful and haunting. It resurfaces throughout the film. A friend has hunted down the title and the lyrics :

空思夢 title : Kong Si Meng - "empty dreams". 

林秀珠 LIN, Xiu-zhu (Singer) 倒了眠床如思夢 I laid in bed and felt that I was dreaming.

夢見我君在阮房 In the dream, he was in my room. 

雙手抱來不願放 I held him in my arms and wouldn't let go. 目睭爬金看無人 Yet there's no one when I open my eyes.

枉費阮來對你情意重 I gave you so much of my love.

今夜又是叫阮守空房 Yet I am alone in my room again tonight. 困袂落眠在窗前 I sat by the window, sleepless. 

月娘偏偏失光明 But the moon's also lost its light

.聽著蟲聲哭悲情 I hear bush crickets singing, which makes me sad. 一時心肝冷像冰 Suddenly I feel my heart turned cold.

怨嘆我君做人真僥倖 He is such a heartbreaker. 

今夜又是叫阮哭無停 Again, I can't stop crying tonight. 半暝秋風真冷淡 Even the Autumn wind turned cold

可比我君你一人 just like how you used to be.

已經離開二三冬 You have left for 2, 3 years.

無留半絲的希望 You didn't leave any hope for me.

阮又為你留著好花欉 I have been keeping my chastity for you.

今夜又是叫阮守空房 Yet I am alone in my room again tonight. 

And in the meantime, a snapshot glimpse from the land of Aleph - filmed this July in the north, mountains of Greece.

This part of the film (not the photo) was filmed in super close-ups (135mm lens) and inspired by Chick Strands’ Fake Fruit Factory. Another gem. 

Enjoy.

[ivaasks]

Sometime ago I was asked to make a short film about my grandmother, the project was to focus on a food recipe as a way of talking about heritage, tradition and personal history. It was to fit into a larger project called The Grandmas Project.

Grandmas Project was created by a French filmmaker Jonas Parent and invites filmmakers from all over the world to participate and document their grandmas. Here’s a short concoction with my Grandma Dragica. A sweet exercise in preserving history - grandmas are an encyclopedia of memories.

And for further inspiration, two films, that are not related in anyway, other then their social critique.

A brilliantly clever Brazilian short film from 1989 by Jorge Furtado called Ilha de Flores (Island of Flowers).

And a visual masterpiece from 1974 by Lina Wertmuller, called Love and Anarchy or (Film d'amore e d'anarchia, ovvero: stamattina alle 10, in via dei Fiori, nella nota casa di tolleranza...) - read about it at Jump Cuts.

In the meanwhile of it all, I’m working on my next hybrid feature film inspired by Jorge Luis Borges, called Aleph. More on that adventure soon.

Enjoy.

[ivaasks]

In August we drove down to North Carolina, here's what the landscape felt like...every new experience tends to be interpreted through a past one...so, incorporated in it is some super 8 footage from one of my homelands, Cyprus.

WATCH ::: http://vimeo.com/17427364

(an experiment on dual screens inspired by Eija-Liisa Ahtila).

Film Forum is having a retrospective of composer Takemitsu's work, so I ventured off on a Thursday afternoon and checked out HIMATSURI, a film by Mitsuo Yanagimachi.  A real treat.

[ivaasks]

Notes From The Border  is live! 

WATCH here : https://vimeo.com/138913042

And we got some brilliant nods, from these guys :::

Indiewire, Los Angeles Times, Newsweek ...

Enjoy!

[ivaasks]

It’s been quite an intense summer of border hopping. I counted 8 countries in 6 weeks : Greece, Turkey, Croatia, Serbia, Kosovo, Macedonia, Hungary and Cyprus. I’d spent the summer filming with (mostly Syrian) refugees on various borders. 

The days were surreal... on the island of Kos, they began with waiting at the beach at 4, 5, 6am for boats with refugees to arrive...those small dinghies that cross from Turkey to Greece in the middle of the night. 

Waiting on the beach, together with an old toothless fisherman, Costas, who hunts for boat engines (an illegal activity in Greece these days), together with couple of Georgian smugglers (from what we gathered) and then us photographers, filmmakers...all waiting for those boats...sharing binoculars.

Sometimes the police, or the coast guard would arrive too. Sometimes they were civil, sometimes they would kick the migrants and shout at them. They would gather them up and make them walk for a number of miles (depending on where they landed) to the camp. The refugee camp was not a camp, it's an old abandoned hotel, where everyone was sent to.  The new arrivals would, without any further explanation, be dropped there and left to figure things out for themselves. No electricity, no water, no food. And all around pretty nasty. Some volunteers had taken it upon themselves to gather food each day from the locals and restaurants and distribute it around. There was never enough for all, and some went hungry, some fought for the last piece of bread.

I became quite close with a group of ten Syrians and we’d spend almost every day together. 

The experiences were gathered in a film called Notes from the Border. It was commissioned by Intercept’s new Documentary Unit “Field of Vision” launched by Laura Poitras, Charlotte Cook and AJ Schnack.

Field of Vision launches at the 53rd Annual New York Film Festival on Sept. 27 

In the meantime, posting here just a few photos from the trip. Each photo was requested by the people in it, i tried to comply. 

Notes from the Border will be available to view through Intercept starting Sept 29th. For now I leave you with Border a brilliant rendering by Laura Waddington

With love, 

Iva.

[ivaasks]

This march, Evaporating Borders took me to Tempo Documentary Film Festival in Stockholm where I met my friend Francesco Scarel who flew in from Trieste. Francesco showed up with a rabbit mask and since it was the first time in Sweden for the both of us we decided to hit the streets. We loved Stockholm so much it inspired us to record our wanderings, all through the eyes of the rabbit. We only had THREE DAYS, A RABBIT MASK, and an iPHONE to play with... and some obsessive thoughts to go along with the journey. In addition, a quote from Todd Haynes’ Poison was recently stamped on my brain  and we used it as our starting point...this silly little short film is what came out as a result. 

Love Comes Slyly, Like A Thief

I was also asked to come up with a theme and list of inspiring films that I’ve seen and would recommend. Since Stockholm had made a strong impression and our little rabbit film can in a way be read as a kind of tribute and portrait of Stockholm, the idea of portraits popped up on the surface as the main theme for this list. It would be a list of films that read as portraits of places, portraits of people, portraits of emotional states. 

And here is what I came up with (in no particular order) ::: Enjoy <3

Belovy or The Belovs by Viktor Kossakovsky - 1992, Russia, 58min

“We are ordinary people, why would you want to film us?” - Anna’s confusion opens the film. And this may be too obvious a set up for the viewer, thought it does lure us into the curiosity of discovery. Magic indeed unfolds in the tiniest of moments, in gestures, in the combination of words, the ridiculous exchanges, the freedom of emotion. Kossakovsky knows that the extraordinary lives in the ordinary, that everything lives in nothing and by the last minutes of Belovy life itself begins to sing. You can see it here.

From the Reports Of Security Guards & Patrol Services No.1 by Helke Sander  - 1985, Germany, 10min

A woman with a baby and small child sneaks into a contraction site. She straps her children onto herself and continues to climb up to the very edge of a crane that overlooks the city. She holds flyers and tosses them to fall onto the city. Based on a true story, the film a visceral portrait of desperation by a brilliant feminist filmmaker. See it here.

Costa Da Morte or Coast of Death by Lois Patiño - 2013, Spain, 81min

The Coast of Death situates the viewer into the lusciousness of the Spanish Galician coast and has them rest there, meditate. Each immaculate shot takes its leisurely time, it demands patience. It overstays its welcome and if the viewer chooses to stay with it, if they practice that patience, patience, patience…slowly you they transported into the sublime. Everything folds into that one moment and life simply is. The political and historical appears subtly and unobtrusively to soak the feet and embed the audience into its wet soil.

66 Scenes From America by Jørgen Leth - 1982, Denmark, 39min

In this film Jørgen Leth travels the Unites States to collect a series of postcards, literally 66 scenes. These postcards are intelligent, on the surface they fool us with what we’ve already seen but then penetrate deeper to concentrate on the nuance. Gorgeously filmed and brilliantly executed, it’s a portrait of a culture. Sprinkled throughout are iconic figures that represent it. See it here.

La Bocca del Lupo or The Mouth of The Wolf by Pietro Marcello - 2009, Italy, 68min

This is as much a portrait of Genoa as it is of Vincenzo Motta. Everything is mysterious and in beautiful decay here. While in prison he meets and falls in love with a transsexual prisoner Mary Monaco, and the two are reunited once they are both freed. The film oscillates between their love affair and the love affair with with the city itself. In a similarly poetic and musical way it travels between documentary and fiction, joy and sadness, beauty and ugliness…it all eventually blends into one.

Portrait Of Jason by Shirley Clarke - 1967, USA, 105min

Jason is a gay, black hustler and artist who laughing through the 105 minutes of this film tells us of orgies, scams, stories his youth, his abusive father, of Miles Davis. He sings, he performs and he gets more and more intoxicated as time progressed. The stories blend into each other as reality is diffused, and made unclear. The interviewers goad him to misery until he breaks down into tears. But which Jason is he authentic Jason? After all, Jason is not even his real name. Is his misery “put on” for the camera or it real? Is it a hustle? Are we being hustled?  What’s real, what’s not? Through Jason, Shirley Clarke shows us her vision of life. See excerpt here.

The Private Life of Fenfen by Leslie Tai - 2013, USA, 29min

Leslie Tai’s filmic experiment is a story of a tragic love affair, in which she gives a camera to a young migrant worker in the south of China. Fenfen starts a video diary, confessing tales of her love life and eventually assembling 100 hours of footage. The footage is broadcast as a “live” reality show on TV screens in various migrant locations throughout China, including restaurants, hair salons, fruit shops. And Fenfen’s life is consumed as entertainment everyone watches her story unfold. The film is brilliantly conceived, again blurring the lines as we go down into he rabbit hole. Fenfen is on display, the viewers watch Fenfen and as they offer their side comments, they too are put on display, and we watch the viewers, watch Fenfen…See it here.

[ivaasks]

It's 6:38pm in Belgrade. 

The film was made this July in Cyprus, quickly, along the way, for a friend and with a friend...it incorporates a santouri, listen to a bit of its magic here.   WATCH THE FILM.

Along the way Evaporating Borders screened at Sarajevo Film Festival and DokuFest in Prizren where it picked up the Award for Best Balkan Documentary. What a beautiful journey.

There have been a few films along the way, impactful, transformative ones. Göran Olsson's Concerning Violence is one such film. It is based on "The Wretched Of The Earth", a book on Colonialism by philosopher Frantz Fanon. Like in his last film, Black Power Mixedtape, Olsson takes old footage from the Swedish television archive to translate the text into film which is narrated by Lauryn Hill. The result is quite brilliant.

If you're a MUBI fan, Balint Kenyeres' Before Dawn, which is available on Youtube but a shame to watch this 35mm beauty of a film in a watered down version. It's a quiet gem, masterful. His other film A History Of Aviation is also up on vimeo.

At DokuFest, I got a chance to check out Linda Vastrik's Forest of The Dancing Spirits. The film was shot in the Congo on 16mm, in the depths of the rainforest. It's a beautiful portrayal of the Yaka/Mbendjele community. The director is present + delicately injects herself in the film. 

And lastly, Marc Cousins and Mania Akbari's Life May Be is a poem.  A genial exploration of thoughts, emotions and artistic expression via letters between the two directors, who had never met until after the film was finished. It was a pleasure to hear their insides.

<3

[ivaasks]

I took a short break, to catch my breath... here's how it went down : http://vimeo.com/27081511

Enjoy

[ivaasks]

So, on Friday...my partner in crime Martyna Starosta and I went to Time Square last week to rebirth Jenny Holzer's 1986 installation "Protect Me From What I Want". We attacked the masses.

Here's what they had to offer ::: http://vimeo.com/22868550

On a different note, Nelson is screening at Scene:Brooklyn on May 12th, which lead to this nice article on the film and ivaasks from Bed-Stuy Patch.

If you get a chance check out Cinema Komunisto at the Tribeca Film Festival. It's a cleverly crafted film that documents the history of Yugoslavia, communism and Tito through careful analysis of the history of Yugoslavian film.

I was disappointed that the film omitted the Black Wave (an interesting article on Zilnik and the Black Wave era) and some of the brilliant art films from the 60s and 70s. It concentrates only the films made within the “system” and under Tito.

[ivaasks]

Evaporating Borders iscontinuing to tour the world on the festival circuit, with 8 screenings in November alone and more coming up.

Evaporating Borders also recently won the RTP Award For Best Investigation Film at DocLisboa 2014, the Best Balkan Documentary Award at DokuFest in Prizren, Coup De Coeur Du Jury at FIFIG. 

It was nominated by the IDA - International Documentary Awards for the David L. Wolper Student Documentary Award and also for the Cinema Eye Honors Spotlight Award. 

We spoke to The Prisma in the UK about the film and the state of refugees in Europe in this great interview and next I'm heading to RIDM in Montreal to present the film and also speak on a panel Occupational Hazards of Documentary Filmmaking together with Hubert Sauper and Patricio Henriquez and give a workshop at the Doc Lab.

In the meantime :::

A new short film is in the works, to be completed by the end of January and I'm super excited about a new feature length hybrid film that I'm developing, called The Aleph, inspired by a short story of the same name by Jorge Luis Borges.

Evaporating Borders was completed in January and premiered at International Film Festival Rotterdam

The film was part of the State of Europe section at the festival along with films like Gianfranco Rossi's Sacro Gra and Kaveh Bakhtiari's L'escale. Other gems at the festival included Ilya Khrzhanovsky's 4, Ben Russell and Ben River's Spell to Ward Off the Darkness (premiering at ND/NF), Ester Martin Bergsmark's Something Must Break which won the Tiger, Roberto Minervini's Stop The Pounding Heart (ND/NF), Riad Sattouf's Jacky Au Royaume des Filles and Vimukthi Jayasundara's The Forsaken Land.

I joined filmmakers Xiaolu Guo and Thomas Bellinck, as well as Rutger Wolfson on a panel to talk about the State of Europe + a lovely review of Evaporating Borders by The Hollywood Reporter in which Clarence Tsui calls the film "Thoughtful and lyrical...Radivojevic’s film is a valiant call for a new way of thinking".

In Rotterdam, we found out the film would have a US premiere at SXSW Film Festival. The film premiered to a full house and received rave reviews.

Film Threat wrote, possibly the best review one could have hoped for, humbling... "Aesthetically, I’ve never seen such magnificent cinematography in a documentary...Equally impressive is Radivojevic’s skill in driving her message home...Evaporating Borders is a must-see movie and its filmmaker is a highly sensitive rarity, with the great ability to open our eyes and change the world."

Nonfics listed Evaporating Borders as one of the Top 5 documentaries at 2014 SXSW Film Festival. Hammer To Nail's Mike S. Ryan and Jesse Klein selected it as their "Best of SXSW" picks. 

Austin Chronicle described the film as "poetic, stream-of-consciousness narration enhances the beautiful visual essay; its structure – five chapters – serves to efficiently organize a complicated story of shifting borders and cultural paradigms"  and Cineuropa wrote “through its five chapters full of gentle, honest and simple images, Radivojevic’s story manages to transcend the most thoughtful, and even the most lyrical, aspect of a subject that does not usually have room to accommodate delicacy of any kind."

The next festival that followed was Thessaloniki Documentary Film Festival. Other films in the program included Michael Obert's beautiful Song From The Forest and Talal Derki's Return to Homs, a powerful film.

The audiences in Thessaloniki asked brilliant questions and engaged with the film in the most interesting and intimate way. The kind of discussion that feels organic and productive and enriching. Analytical. A beautiful experience.

A few interviews took place in between, Reelscreen, IndieWire, Filmmaker Mag's Women of SXSW, Sarah Salovaara's 5 Questions.

[ivaasks]

On a lighter note,

WATCH ::: http://vimeo.com/32553320

Every summer steel drum orchestras gather in panyards across Brooklyn to gear up for the annual Steel Band Panorama Competition. The Despers come together every night throughout the summer. The sound is captivating, trance-like. My brilliant film partner Sarah and I, left each time elevated. 

Film Forum ran a retrospective of Robert Gardner's films and Margaret Mead Film Festival did the same for Jean Rouch.

I checked out Gardner's Dead Birds and Forest Of Bliss. Both are a visual treat, absolutely gorgeous. He carefully chooses his compositions, constructs his shots mysteriously, slowly revealing. He pays attention to details such as plants, insects and the silence of the atmosphere. Engrossing. Gardner's “voice of god” narration informs the viewer about the Dani culture and the two main characters. He goes so far to tell us their thoughts, disappointments and exaggerations - how has he come up with them? It's problematic in its exotifying/othering tendancies (he doesn't mention his intent to the Dani people). Here's a tough and interesting critique of the film by Jay Ruby.

Forest of Bliss is equally as beautiful, though here Gardner loses his voiceover and also refrains from subtitles. We watch and interpret for ourselves. The films circles, repeating images and enclosing the viewer in what seems a small radius on the Ganges...death is the theme but so is life...and life is a struggle in this film.

Jean Rouch's Jaguar is funny, entertaining and a sort of docu-fiction. In constructing the story, he stages and directs the actions of his characters. He also uses his friends in the films and as crew members. After some criticisms of his early films, here he gives the voice back to the people filmed by having them watch themselves and come up with their own narration to the film. They themselves comment on life in Accra, Africa, culture etc. (they make fun of different tribes and their nudity and gestures)..the exchanges are humorous and at times tiring, there is no natural sound of the filmed scenes.

I wonder to what extent the narration is constructed to "please" Rouch. There is also a part in the film where one of the characters, upon arriving to Accra finds himself in a managerial position and treats his workers unkindly - this part immediately linked me back to a clip of Rouch I had watched prior to Jaguar.

And in closing, here are the two men together, The Screening Room chat between Gardner and Rouch

[ivaasks]

WATCH ::: Between Colors Of I 

Just before diving into the the abyss of post production on Evaporating Borders, I sidetracked a little bit and composed this short hybrid short, loosely based on the recent trip through Morocco.

It attempts to borrow from the Proustian narrator, somewhat elusive, somewhat unknown, fluctuating - he exists in an unknown time period in an undefined space. The voiceover is narrated by a talented musician and a new good friend I encountered on the way Yasser Belaiachi.

[ivaasks]

There are so many layers to the New Orleans experience. Misty mornings, quiet sunlit days. Slow paced footsteps. Streets echoe of instruments.

All very special ::: http://vimeo.com/20319038

Anyway, It was one week before Mardi Gras but the parades and parties already started. I can't imagine what will happen this week. Here's one layer of New Orleans.

[ivaasks]

WATCH ::: https://vimeo.com/58313887

While working on my new film, a long form documentary that addresses displacement, tolerance, refugees and people migration and mainly takes place in Cyprus...I took a little trip to Israel and Palestine. Most asylum seekers in Cyprus are Palestinian, some have never even been to Palestine. I was curious to find out more about the land... conscious of the privilege I have to explore my curiosity, while they will never be allowed to come near their homeland.

During my brief visit to Palestine, I met Avram, also known as John...He chatted for a few hours. Here are his thoughts.

In the meantime, I finally saw  Women On A Verge Of a Nervous Breakdown, Pedro Almodovar's brilliant imagination at its best. Besides the super intelligent narrative dramaturgy, i loved the symbolic use of objects and devices. 

And one more delightful gem is Tsai Ming-liang's short film Walker  that won at Cannes last year, you can watch it in its entirety online. Patience is the word. We're working to break and challenge the 30 second attention span. 

Enjoy.

[ivaasks]

WATCH IT HERE : https://vimeo.com/53804072

In April I took a little trip down the Mexico. I purposely left the camera at home and brought only a sound recorder and the sick addictive device that is the iphone. The idea was to not spend the entire trip behind the camera lens but to discover what could be created as an alternative...So, I resorted to my other (neglected) loves, illustration, photography and animation. It''s what a day in a small Mexican town felt like.

Last night Union Docs hosted a beautiful screening of shorts by the Brooklyn Filmmakers Collective, it included my short Gawking Red.

I've been deeply impressed by two films recently, one fiction and documentary.

Leo Carax's Holy Motors is a must see, a very Brechtian approach to filmmaking. The viewer is never relaxed into a passive indulgence, but is continuously interrupted by new possibilities. The film is densely layered; it addressed our voyeuristic society, our need for sensationalism, how and why we are entertained. It very much comments on acting, roles and audience.

At the same time watching it, the viewer is trying to decipher between multiple realities, that on film and their own. What is real and for who?

What is beautiful and who decides it is so? It also brings to mind the idea of hybrid identities and as Audre Lorde would say, the possibility of being and assuming multiple identities at the same time.

At the other end...

In his 10 advice tips for aspiring filmmakers, the brilliant Russian documentary filmmaker Viktor Kossakovsky says "Don’t film if you want to say something – just say it or write it. Film only if you want to show something, or you want people to see something. This concerns both the film as a whole and every single shot within the film." Michael Glawogger's Workingman's Death is a perfect example.  The film covers volumes with its succinct simplicity. 

Enjoy.

[ivaasks]

In September, I was in Amsterdam for a couple of weeks and had some observations. 

WATCH ::: http://vimeo.com/32831374

Amsterdam has a bad rep ::: coffee shops, red lights and canals. And, for my first ten days here I experienced none of it…successfully and without trying i avoid the trap/crap…what a beautiful and romantic place…It’s the last day of my trip and i purposely engage in the tourist game of red lights…before i describe my first encounter, i’ll name a few fantastic things about this magical place.

The light ::: the most incredible light that illuminates colors and reflects everything brighter, cleaner and more intensely. At every moment, every light change, I’m amazed… (not because i’m high!)…The bicycle ::: in an effort to promote being green, even the prime minister bikes to work. It’s the ultimate way to experience the town…

The air ::: you breathe, deeper, louder, happier … there is a crispness…it’s September, the leaves have started a paced descend…the rain is gentle, frequent and short, welcoming and we accept it…a perfect introduction to fall. I could go on…but… let me make some observations.

The inspiration for this one came from Chris Marker's Sans Soleil. Perhaps most obvious here the female voiceover in English (by the talented Sarah Enid Hagey) - usually my disguises are foreign in which the melody of the language attempts to suit the images. There is so much to be said about Sans Soleil but one thing I really connected to is something Marker mentioned in an interview which very much reflects what happens during an artistic creation...That is, Marker confirms what most of us find to be true (at least I do) when filming: “I photograph a story I didn’t quite understand. It was in the editing that the pieces of the puzzle came together, and it wasn’t me who designed the puzzle. I’d have a hard time taking credit for it. It just happened, that’s all.”

Reminds me of The Song of Ceylon where Basil Wright just shoots on instinct not knowing why...but somehow magically these unconscious decisions manifest into a message through the work.

San Soleil is political, it's personal, a stream of consciousness, observational commentary, a diary, an intellectual provocation and a historical document, a reminder to be all at once. The narration of film itself is thought provoking, one among many : “I wonder how people remember who don’t film, don’t photograph, don’t tape...(images) have substituted themselves for my memory. They are my memory.”

P.s. Fantastic sounds by Stian Westerhus