HEAR THE YELLOW

Director’s statement

The land where I lived when I was a child used to make me feel at peace and safe. Years later, it became a barrier to me and hindered my progress. My cinema journey and SUNA's musical journey have similarities; she built her connection to music by detaching from her roots. I think that my experiences push me to create distorted characters. In this film our guide is Suna and her experiences so the camera will always follow her. The camera language will include shoulders and follow ups to create the feeling that we are travelling with Suna on her journey. I also intend to use static camera language where emotions calm down and soften. In order to be able to feel Suna's hearing experiences, we will sometimes have the feeling that we are in her body. Music in this movie will reflect the expression of the characters' existence and emotions. The music won't be a soundscape that feels ambiguous, but it will appear as an important character who shows up powerfully when it's its turn. All music will be real and heard from the source in the scene, except for a leitmotif that will provide semantic correlation between the scenes and those that will strengthen Suna's mood. The sound is imagined in a dimension that creates meaning rather than just a sound layer. While giving additional weight to the conflicts between characters, the sound and image will appear in contradiction; sometimes the sounds will be louder than they should be to withdraw sound out of its basic function. The editing of the film where we travel back in time with Suna's encounters, will progress with a language whose editing seems detached like parts of a dream, but which integrates the emotions. The sinkhole is the great void that Suna could not fill in her life; the fractures and the evacuation represent the fear from the disappearance of traditions. Suna's synaesthesia experiences with colours and sounds, indicate a feeling of mourning, whilst trying to understand pain through different senses.