love is the only master I'll serve is a symbolical art film (22') written and directed by Nicholas Lens.
(Worldpremiere) Brooklyn International Film Festival, New York City -June 2006 [1]
Media and Dance, Tokyo - Japan, 2006
Napolidanza, Italy, 2006
The American Dance Festival, United States, 2006
One entity, divided in two women addresses himself to an imaginary love-god (represented by a pipe-smoking child).
Body and voice of the divided entity are used to utter a spectrum of opposed sensations -caused by the division- and heightened sensitiveness related to the subject.
The divided entity is seeking a unification, which will not happen without the approval and support of the imaginary love-god.
(reference for this paragraf Festival program BIFF New York City 2006)
The Whisper Kid, symbolizes a personalized love-god.
she looks with a certain distance and neutrality at the 2 creatures who address themselves to her;
her image is of pureness and young innocence;
to cut across this well-spread definition she smokes a big curled hanging pipe;
sometimes she blows and creates air bubbles of soap with the inhaled smoke;
by these actions the child character reveals a mysterious, elusive background of her own timelessness, of someone who could possibly be aged but appears this time in a gentle, different form.
Luna, a human female mortal addressing herself indirectly (and sometimes directly) to the imaginary love-god.
she figures as a sculpture, perplexed by the whisper kid, but finally she looks straight in a static camera while she sings her ode to love, she expresses her devotion to the subject (“love is the only master I’ll serve”) by her self-chosen verbal communication;
her body almost doesn’t move, we only see a severe, sometimes frightened, sometimes completely desperate-for-love face expression.
Serena, a human female mortal, addresses herself indirectly (and sometimes directly) to the imaginary love-god.
she communicates her devotion to the subject by physical expression;
she dances, using a whole spectrum of facial and body statements, interrupted with spasmodic blitzes of short falling moves and/or like electric shocks, like face and body are crying of pain and uncontrolled passion originated by the subject (as it appears sometimes when long periods of a constant energetic and inner peaceful mood is suddenly effected from outside, unexpectedly and on first sight unnecessary, like the pain of a needle in a body which is in a gentle, lovely sleeping state, a pain, abrupt and short, but more hurting, much deeper as one isn’t prepared for it).
Written & Directed by Nicholas Lens
Cast
Louise Peterhoff, (Serena)
Claron McFadden, (Luna)
(Introducing) Clara-Lane Lens, (The Whisper Kid)
Crew
Photography and Camera, Renaat Lambeets
Choreography, Louise Peterhoff
Music & Libretto, Nicholas Lens
Art Director, Pierre-François Limbosch
Editing, Simone Rau
Additional Editing, Stefan Rijcken
Location: Karnak room, Axel Vervoordt, Wijnegem, Belgium
Shooting Days: April 16–17, 2005
Executive Producer, Brigitte Baudine
Presented by Tabaran Company
Produced by Nicholas Lens
(reference Festival program BIFF New York City 2006) [2]
Music Production:
The Accacha Chronicles 3rd part, Amor Aeternus -Hymns of Love, Nicholas Lens
soloists
Claron McFadden, Ian Honeyman, Henk Lauwers, Derek Lee Ragin, Elka Simeonova, Galya Haralambieva, Paul Gérimon, Clara-Lane Lens, Angelite -Bulgarian Voices
recording & mixing
acoustic vs studio's -Sofia, tabaran studio -Brussels, icp -Brussels, villaïda -Casablanca, bleu nuit -Brussels, villalou -Cape Town
distributed (2005) by Sony BMG Classics cd 82876 66238 2
published by Schott Music International, Mainz/New York City
