Oliver Laxe's "Sirât" is a boundary-pushing film that defies conventional storytelling, according to composer Kangding Ray. With its Oscar nods in multiple categories, including sound, original score, casting, cinematography, and international feature, the movie has garnered widespread acclaim for its innovative approach.
The narrative follows Luis and Esteban as they embark on a perilous journey through the Moroccan desert in search of answers about Luis' daughter Mar, who vanished at a rave five months prior. As they navigate the treacherous terrain, Ray's techno score takes center stage, providing a sonic character that ebbs and flows with the narrative.
Ray attributes his initial interest in "Sirât" to its ambitious and radical nature, which aligns with his personal artistic vision. He had high praise for Oliver Laxe's script, describing it as a film that "works on different levels" without resorting to excessive explanation.
As a techno and experimental musician, Ray drew upon his expertise to craft the score, leveraging his experience in creating energetic and immersive soundscapes. However, he acknowledged that the most challenging aspect of composing was capturing the shift from high-energy rave sequences to an ethereal, ambient soundscape that conveyed the emotional turmoil faced by the characters.
To achieve this transition, Ray emphasized the importance of pacing and key in crafting a cohesive score. He also drew inspiration from the natural world, incorporating elements of sand and wind into the soundtrack, which he achieved through his use of modular synthesizers.
Working with Laia Casanova, the film's sound designer, proved beneficial in creating a harmonious marriage between sound and score. Their collaboration enabled them to blend Ray's synthesized sounds with organic recordings, resulting in a rich sonic tapestry that enhanced the narrative's emotional impact.
Interestingly, Ray noted that while scoring the script was an initial consideration, he found that some adjustments were necessary once he saw the film come together. Despite this, the overall synergy between sound and score remained intact, further emphasizing "Sirât"'s innovative storytelling approach.
The score also raises questions about music's role in different cultures and communities. Kangding Ray views music as a unifying force that transcends cultural boundaries, allowing people to connect with each other through shared experiences and emotions. This sentiment is encapsulated in the film's poignant moment when Luis' daughter says, "music's not for listening, it's for dancing," highlighting the power of music to bring people together and transcend cultural divides.
Ultimately, Kangding Ray's work on "Sirât" has cemented his reputation as a visionary composer who pushes the boundaries of sonic storytelling. His score is an integral part of the film's narrative, providing a rich sonic landscape that underscores the emotional depth and complexity of the story.
The narrative follows Luis and Esteban as they embark on a perilous journey through the Moroccan desert in search of answers about Luis' daughter Mar, who vanished at a rave five months prior. As they navigate the treacherous terrain, Ray's techno score takes center stage, providing a sonic character that ebbs and flows with the narrative.
Ray attributes his initial interest in "Sirât" to its ambitious and radical nature, which aligns with his personal artistic vision. He had high praise for Oliver Laxe's script, describing it as a film that "works on different levels" without resorting to excessive explanation.
As a techno and experimental musician, Ray drew upon his expertise to craft the score, leveraging his experience in creating energetic and immersive soundscapes. However, he acknowledged that the most challenging aspect of composing was capturing the shift from high-energy rave sequences to an ethereal, ambient soundscape that conveyed the emotional turmoil faced by the characters.
To achieve this transition, Ray emphasized the importance of pacing and key in crafting a cohesive score. He also drew inspiration from the natural world, incorporating elements of sand and wind into the soundtrack, which he achieved through his use of modular synthesizers.
Working with Laia Casanova, the film's sound designer, proved beneficial in creating a harmonious marriage between sound and score. Their collaboration enabled them to blend Ray's synthesized sounds with organic recordings, resulting in a rich sonic tapestry that enhanced the narrative's emotional impact.
Interestingly, Ray noted that while scoring the script was an initial consideration, he found that some adjustments were necessary once he saw the film come together. Despite this, the overall synergy between sound and score remained intact, further emphasizing "Sirât"'s innovative storytelling approach.
The score also raises questions about music's role in different cultures and communities. Kangding Ray views music as a unifying force that transcends cultural boundaries, allowing people to connect with each other through shared experiences and emotions. This sentiment is encapsulated in the film's poignant moment when Luis' daughter says, "music's not for listening, it's for dancing," highlighting the power of music to bring people together and transcend cultural divides.
Ultimately, Kangding Ray's work on "Sirât" has cemented his reputation as a visionary composer who pushes the boundaries of sonic storytelling. His score is an integral part of the film's narrative, providing a rich sonic landscape that underscores the emotional depth and complexity of the story.
. And Kangding Ray's techno score? It sounds like something you'd find in a Myspace playlist from 2007. I'm not buying that it was all just about creating an immersive experience or whatever, there's gotta be more to it than that... maybe they just wanted to make some money off the film's artistic merit 
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after watching this trailer for "Sirât"! The techno beats are giving me LIFE 
and I love how they're blending it with the natural sounds of the desert - it's like a whole new world has been created 
! I can totally see why Kangding Ray was drawn to the film's innovative approach, his score is EVERYTHING 
! It's amazing how he used modular synthesizers to capture the essence of sand and wind... genius 
! The way the score shifts from high-energy rave sequences to this ethereal ambient soundscape is mind-blowing 
! Give me more of this cinematic magic and I'm a happy camper 
. Maybe the score is actually a bit too overhyped, but at the same time, it's hard to deny its impact on the film 
. The way Oliver Laxe and Kangding Ray worked together is pure genius, I mean, who else can pull off that seamless blend of electronic and organic sounds? 
... hmm, maybe not so seamless if you ask me 
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. On one hand, music is a universal language, but on the other hand, isn't that just a cliché? 
... or am I being too cynical? 
, even if I still have some reservations about "Sirât" 
. What do you guys think? 
but honestly the premise still sounds super creepy to me - two dudes searching for their daughter in the desert? sounds like a recipe for disaster 
. I love how the sound design and score are so intertwined, it makes the whole movie experience feel super immersive 
.