Serve and Protect

The overview of "Serve and Protect", directed by S.W. Wilcox and Epic Muntzir reads: "In the future, justice is no longer blind. Or even human. The year is 2162. Mankind is still reeling from a cataclysmic crash from the greatest technological heights it has ever known. Advances in time travel and medicine were made, but at the price of faster advances in weaponry. The worst fears of the nuclear age were realized and the world was plunged into Atomic War. Now, there are only small pockets of humanity left. In one such city, cyborg police track a resistance fighter, speeding first through a neon city that gasps for energy-remnants and then into a desert showdown. The stunning 4k futuristic animation is achieved through expertise in Adobe After Effects. It details spinning tires, smoky streets and windblown hair to the finest detail, with song lyrics included as a final touch."

You're lying to yourself if you think you're free!
Corruption and power go hand in hand,

According to his director biography, S.W. Wilcox was certified legally blind in 2024, so he is "collecting my final video and scripts while I can still read for a few hours per day." He gives kudos "and horns up to computer-tech that allows breathtaking 4k illustrated videos...that add new life and enjoyment to even 50-year-old songs that millions grew up on." In his director statement he says: "Even those with law degrees are subject to human weaknesses. So no need to rant this is too controversial or disrespectful. Just cue the track in your car stereo and floor it! (Just kidding.)" He goes on to say that music "is a healthy type of chaos, a full three steps away from a destructive kind. Using lyrical phrases, music best introduces a topic for a constructive discussion...music, video, and book, rely heavily and healthily on symbolism..." He notes that "since the time of Gore's PMRC b.s., music and the related arts have been abused and downright stolen from the people of the world, IMHO. Perhaps, though, the Computer Age will help the people have their arts and sciences restored."

(You can read S.W. Wilcox's inspirational journey, including information about his book, Bards of Fantasia, HERE)

S.W. Wilcox mentions PMRC, The Parents Music Resource Center, an American committee that was formed in 1985. The group released a list of songs they found objectionable, including Twisted Sister's "We're Not Gonna Take It". Dee Snider famously testified before the U.S. Senate to defend one of the band's songs. Years later, in his article "1985 PMRC/Senate Hearings: Then and Now" he wrote: "I did welcome the opportunity to show the PMRC and the Senate subcommittee how you should not judge a book by its heavy-metal cover. Their indignant reactions to my  '80s rock-star look and their dropped jaws when I proceeded to take every one of their arguments apart were priceless." He also pointed out that years later, "everything and nothing has changed. The ultra-conservatives still want to dictate to the masses what they deem acceptable for the general public to see and hear..."

Forget the laws that you've been taught
We'll lock you up and let you rot!
We are the protectorate and we control the game
You fit our profile now do the walk of shame!

In a 2018 article titled "Don't Get It Twisted: 'We're Not Gonna Take It' Can Be Anyone's Protest Song", Rachel Martin wrote that when teachers in Oklahoma went on strike, their message "was amplified by a song - one that, 34 years earlier, had been the sound of student rebellion...was once named among the 'Filthy 15' songs singled out for offensive content and brought before Congress by concerned parents in the 1980s." In that testimony, Dee Snider had said: "The beauty of literature, poetry and music is that they leave room for the audience to put its own imagination, experiences and dreams into the words."

Criminalizing our population.
Turning us into a prison nation
Corruption and power go hand in hand,
Sent to devour the deeds of the damned
SERVE & PROTECT!

https://youtu.be/ko5wCF57lEg?si=ZDrnsuXG2ljrbJXO

Review: andymori - everything is my guitar (Music Video) directed by Brett Koehn

Synopsis: Frustrated with learning how to play guitar, a boy's world starts to get overrun by guitars until he finds his own way to approach the instrument.

Reviewer: Love Kassim

First impression: The concept of the boy's transformation from struggling at guitar to perceiving everything as guitars adds a unique and intriguing twist.
What I liked: The imaginative portrayal of the boy's growing musical proficiency intertwining with his perception of the world is a creative and engaging storyline.
What I didn't like: It would be interesting to explore the origin or reason behind the boy's sudden shift in perception and musical ability for a more comprehensive narrative.
Reminds me of: This narrative echoes elements of magical realism, similar to works where characters experience surreal shifts in perception or reality.
Conclusion: The story captivates with its imaginative blend of music and perception, leaving room for further exploration of the fantastical elements introduced.

Interview: IVA ("Run" producer/singer/performer) and Camilla Natta ("Run" music video director)

1. Camille, this is your directorial debut as a solo director. What would you say are the advantages and disadvantages of working as a solo director versus collaborating with another director (as you did with Erick Zonca on the Golden Bear nominated feature film "Julia")?

This is such an interesting question, because in film making, everything is collaborative.  You never make a movie by yourself, you rely on an entire team to make a film, and that's both what makes this medium so exciting to work with because you are supported in so many ways and it’s also what makes the role of the director so challenging because you have to choose the right people for each piece of that puzzle and then coordinate all those voices so that one single clear vision comes out of this teamwork process.  On “Julia”, Erick Zonca was really the main experienced director and I was getting my training wheels, so I’m eternally grateful for the opportunity I got to work with him and learn so much during the writing process, the shoot and the editing.  I was really supporting his vision and I carried that onto the set of “RUN” by making sure I surrounded myself with the best, most experienced people I could find.  In relying on me, Erick really taught me how to rely on others when I was at the helm of this project with IVA — understanding that there is no single person making the movie, but there is one person who takes on the responsibility for the project and being a director is really being willing to take on that responsibility.

2. IVA, what inspired your song "Run" and how much input did you have in the making of the music video?

Run was inspired by a friend who jogs in the north of Sweden in the winter when it is dark all day long. I remembered my winter days of feeling depressed, trapped indoors in dark, cold Sweden and felt this song was about overcoming what we were all feeling during the pandemic lockdown in the States. We were not allowed to leave our homes save for grocery shopping and caring for loved ones, and didn’t have contact with friends and family living close and further afield. That time was painful for so many. My friend Tracy reminded me that running in the darkness can help us find the spark of inspiration that we need in difficult times. I wanted to share that possibility through this song by showing how the act of running, and its symbolism of committing to something we love and seeing it through, can help us find our fulfillment.

Camille had been coaching me on my acting during the recording of the song, and we decided to turn it into a video. It was a complete collaboration so I could give as much input as I wanted to, yet Camille’s vision was well thought-out and I felt in good hands, letting her take the lead. She had the brilliant idea of making much of it about my eyes, as they are the windows to the soul. I’ve been through a great deal of loss in my life and have found a way to make it through with love and strength, partly thanks to friends and colleagues like Camille. She captures that spirit in the video.

3. Camille, the music video complements the song quite well. There is always a challenge regarding resources (time, money, etc) so if you had more time and money, what would you change about the music video? What would you not change?

Our superpower as humans is adapting to challenge.  The most creative part of being a film maker is figuring out how to meet challenge, so I love that part of the process.  Embracing it is what makes us grow as artists.  I like to remind myself of the pinnacle moment in Indiana Jones where he faces a bad guy wielding a saber and just as all seems lost, Indie pulls out a gun and shoots the guy down.  This quintessential moment filled with humor all came together because Harrison Ford was sick and they lost a couple days of filming so they had to cut the big sword fight number from the script and get creative with the scene, and it’s my favorite moment in the movie.  Limited time and resources force you to get creative.  I wanted to make an "in camera" movie as we were referencing classic 1980s music video making, so I didn’t want to use any special effects.  We shot one day on a sound stage and half a day guerrilla-style in the streets of LA and through my bathroom window to create the visual layers.  And we used mashed potatoes to create the effect of snow falling, with my ADs were furiously sprinkling IVA with mashed potatoes and moving branches above her to create shadows and the impression of wind.  IVA was very patient with us, getting mashed potatoes in your eyes is nobody’s idea of having fun! 

With more time and money I would have maybe wanted to tell a more narrative story, that we would have set in snow-covered landscapes in Iceland for example, but that would have been way beyond our budget!  But with analogue photography coming back to the forefront, I’m excited we got to work on this project with old school spirit.

4. IVA and Camille, how do you find your inner strength in a world and an industry that can be quite challenging for women?

CAMILLE: I’m excited to see things are changing in our industry, I think it’s an inspiring time to be a woman in our industry right now.  While only 22% of Hollywood directors are currently women, we’re still making changes faster than other industries like neurosurgery where less than 10% of neurosurgeons are women.  I have made an effort to surround myself with smart women in my industry (like IVA) who have been so generous in sharing their experience and supporting me.  Because of the importance of mentorship in our industry, we still have some way to go.  When you consider that twice as many main characters are male than female and then you break it down further, you see that in films with at least one woman director and/or writer, females comprise 57% of protagonists, whereas in films with exclusively male directors and/or writers, females only account for 19% of protagonists, it becomes very apparent that, as women, we still have great need of a greater pool of role models and it’s so important to support each other.  I’m grateful to be part of the female directors who can lead the way for the next generation of filmmakers, I want to be there for them, to encourage them.

The daily practice of showing up is also something IVA and I worked on together.  We’ve had a ritual of warming up our voices together every morning for the past 18 months and it just set us up for success.  It’s kind of like meditation, but we did it together, so it added a dimension of showing up for another person so you double up on your accountability and also your sense of achievement as a team.

IVA:  We had a beautiful, wild ride creating this video together, and we have collaborated many times, which made our working relationship even more powerful on this film, both when things went right and if things went wrong - like losing a much desired makeup artist at the last minute or facing a large budget and finding ways to make it smaller while holding true to the vision. We had inner strength from a mutual trust and respect for each other’s artistry, and from having each other to lean on. Camille and I have a very strong friendship. We lift each other up when our self esteem is damaged by the industry, and help each other navigate through when life and work becomes challenging. We have a pact to be fully honest with each other, and we can hash through differences and fight sometimes and then discuss openly what happened with no hard feelings. As a musician, I focus on sharing my truth in the most effective way I can, which I find is through my music, and Camille helped me emanate a deeper, stronger version of myself in this video. A few years ago I lost my mother suddenly, and was also in a romantic relationship where I was a victim of domestic abuse for many years. I was grieving for a long time and felt somewhat defeated, and Camille helped me feel ready to “Run” with passion again. Camille and I also provided firsts for each other with this video, she as lead director and I in having the creative direction of someone of Camille’s caliber and deep knowledge of me as an artist. I was able to look into the camera with my full being, unafraid of being seen. That has given me a new perspective on my artistry, and about who I am. I know most of all that standing together is our strength, and I am grateful to have a friend and colleague like Camille who gives it to me straight and loves me with all her heart, as I do her. I hope that as two women creating this music video together we will be able to reach many more people and inspire other women to realize their creative visions fully, and as often, as possible.

5. IVA, what advice would you give to musicians who want to make their first music video?

Find a director that you trust who also has the skills and vision necessary to make an effective music video. Also be sure to prepare yourself for the screen as it’s quite a different means of communication than through music. Most of all, enjoy the creative process. Camille and I absolutely did, and it was hard work! I have an even deeper respect now for all those who work in film and feel very lucky to know multi-faceted artists like Camille (who also did an incredible job editing the video.) And she respected our budget and did her best to keep things economical, which set my mind at ease. Also, work with the director to put together a great team who can help you realize the vision. And, if you can, raise a budget that allows you to take care of everyone well, making sure everyone has the equipment, space, and food necessary to do their best work. It makes a big difference for rapport on the set, and for the film itself.

6. Camille, what advice would you give to directors who want to make their first music video?

Have fun, take the time to experiment.  Music videos really allow for a lot of experimentation. 

Also, STORYBOARD.  I cannot underline how important storyboarding is, especially in short format story-telling.  I’m grateful to my first AD, John Claflin, for forcing me to storyboard the entire video, phrase by phrase, and really thinking through the musical changes, rather than just the broad strokes.  This was so helpful when I was editing, so I wouldn’t end up stuck because I was missing one tiny shot.  The moments where IVA is spinning for example are four different shots for each turn and she had to start and land those movements very precisely while singing the song and looking natural.  And the layers where multiple versions of her are floating or flying by her all had to be shot on exact moments of her singing and timed with the music and lyrics, every single one of those is a different shot with multiple takes, it you look closely at her lips, you’ll see none of them is a repeat shot.  All of this had to be precisely calibrated and storyboarded in advance, otherwise it would never have worked.  I also had to make the decision on set to cut several shots from our shoot day as we ran out of time and the precise storyboarding allowed me to make the decision of what cut very quickly in the moment, without compromising the editing. 

The other piece of advice I would give is make sure you have people on your team who really understand music, because you're cutting a film to support the music, to enhance the audience’s experience of a song, so it’s very helpful to have people in your crew who understand what’s going on musically.  RUN is a complex piece of music.  IVA makes it look easy, but there aren’t many pop artists who have the chops to do what she is doing musically in this song.  She’s a full on opera singer by training, so her voice and the musical choices are complex and mature.  So it was important to me to surround myself with a team who could really appreciate the complexities and challenges of the music.

7. Camille, what three things, places, events and/or people stood out for you on your trip to Kenya?

I was very young, I visited Kenya as a toddler.  I know my parents hiked up Mount Kilimanjaro and I am fond of this picture of me with one of my uncles, clearly excited to be coming along for the ride.  I have memories of the rain and dancing, and eating ugali and irio — which is dream food for a toddler as you eat it with your hands ;).  I hope to visit Kenya again soon, maybe I’ll be flooded with early childhood memories.

Watch 'The Making of "RUN"':

International Women’s Day, “Run” (Directed by Camille Natta) and “Earn the Day” (Written and Directed by Jane Shepard)

Happy International Women’s Day! 

According to UN Women, the 2023 theme is: “DigitALL: Innovation and technology for gender equality” It is aligned with the main theme for the 67th session of the Commission on the Status of Women: “Innovation and technological change, and education in the digital age for achieving gender equality and the empowerment of all women and girls.”

I subscribe to the e-newsletter of filmmaker Ela Thier and she recently recommended a short film titled “Earn the Day”. I watched it then I understood why she mentioned in her short commentary that she was halfway through the film and she was both laughing and crying. After watching the film, I wrote in the comment section: “Funny, fun and so inspiring!”

The music video for IVA’s beautiful song “Run” was directed by Camille Natta and is her directorial debut as a solo director. “This is an experimental music video about a woman finding her inner strength to run in the cold in the dead of winter in Northern Sweden.”

I would say that the essence of “Earn the Day” is about the protagonist finding her inner strength to run away from the cold, harsh criticisms of her inner voices. Two powerful images appear both in “Run” and “Earn the Day”: a carefree little girl running freely, joyfully, unencumbered, unashamedly. In “Earn the Day”, the little girl appears when the protagonist is in the flow, when she is being her authentic self, when she has silenced those inner critics, when she has given herself permission to rest. In “Run”, the little girl appears during the chorus of the song, a simple chorus, reminiscent of the chorus in that Sheryl Crow song (“Run, baby, run, baby, run, baby, run, baby, run”) but in IVA’s song, the chorus is made up of one repeated word: “Run, run, run, run, run, run…”

When we women can reconnect with that little girl, or at least, that little girl’s energy, optimism and hope, then we can be transformed and run further than we ever imagined.

At the end of both “Earn the Day” and “Run”, the protagonists are transformed into more powerful versions of themselves.

Peace

"When the power of love overcomes the love of power, the world will know peace." - Jimi Hendrix.

"Darkness cannot drive out darkness: only light can do that. Hate cannot drive out hate: only love can do that." - Martin Luther King, Jr.

"If you want peace, you don't talk to your friends. You talk to your enemies." - Desmond Tutu.

"Peace begins with a smile." - Mother Teresa.

"The world is now too small for anything but brotherhood." - Arthur Powell Davies.

PEACE PLAYLIST

Light and Dark - ROFFEKE Official Selections 2021 (Part 1)

The Christmas story is a story of light and dark. That “star of wonder, star of night, star with royal beauty bright” shone on a dark period that was full of challenges. There was no room at the inn for a heavily pregnant young girl and her spouse. A villainous king wanted three wise men to aid and abet him in committing murder. The three wise men were wise enough to pay attention to the world of dreams. “Light and Dark” is one theme running through the 2021 short films, music videos and rockumentaries submitted to ROFFEKE.

 

The first 2021 submission was “Bluestocking - Never Ready” directed by Egor Gavrilin. It is “a look at 5 personal stories of the members of the band through the prism of magical surrealism with a tinge of steam punk and a dark fairytale.” The second submission was lighter, both in themes and in setting and production. “Red Gate Sessions”, featuring and directed by Marvin Glover “is a live concert short film…the film shows an intimate performance of a select material spanning his career in a stripped-down set, and an intimate setting.”

 

“Partner - Honey” was directed by Lesley Marshall. “We tackled Penelope Spheeris’ “Wayne’s Word” and attempted to contain her epic rock tribute styles in our own way. I wanted to bring the humour of the movie and also its many parodies to tell a day in the life of the show and also add some layered surrealness.”

You can watch the 2021 ROFFEKE Official Selections here:

Interview: Egor Gavrilin - Director of The Bluestocking Music Video for "Never Ready"

ROFFEKE: I loved your interview on Shortcloseup.com so for this ROFFEKE interview, I would like to ask some follow-up questions:

In the interview, you mentioned that you directed a “part theatrical performance part radio play based on Ray Bradbury’s short story ‘Kaleidoscope’”. Please share some of your favourite memories/lessons you learned from that early directorial experience.

EGOR: Since it was my first case of consciously directing something there was a lot of mini observations and conclusions. But there was one main thing I realised:

The process and the product are two different universes.

A bit of context: in school we had this yearly event where every class would prepare a 15-20 minute theatrical piece. Officially it wasn’t a competition but in reality for a month the whole school turned into a Game of Thrones kind of ball of intrigues, treasons, plotting. Everybody spying on others and trying to figure out what they were preparing and do something for their piece to look better. And while everybody was so in this process of gossiping and doing small-time politics I was in my room at the computer trying to realise what the hell needs to be done to make this piece work. You know, directing stuff. And that contrast between the two “layers” of the process can be seen in all sorts of projects, no matter how big. People can get too excited by everything that happens “around” the production process (who wouldn’t be? it’s always such an exciting emotional rollercoaster) that quite often they forget that having an exciting time on set (or near it) does not equal making a great film (or anything, really). And you have to always be able to turn off all the side-effects of the process and look at the product with fresh eyes and see whether it’s working or not.

ROFFEKE: The first script of “The Bluestocking - Never Ready” was ditched. What were some elements/scenes that you loved about it?

EGOR: I loved the whole thing.

Short story long.

I am that kind of a director who can’t work on a music video without knowing and feeling the musician(s) first. I usually torture them with several-hour talks and then ask them hundreds of stupid questions in messengers (I start to draft ideas before all this but you can really see how they become better as I learn new things about the band and the song). And this first version of the script appeared from all those meetings and talks.

The story was a very dark tale set in a fantasy version of early XX century (think Tim Burton type setting but without any hint of humour). It was about a girl who went through hell in her childhood, then later became a showgirl superstar. When she fell in love with a man she couldn’t trust him and she started to have paranoid suspicions that he was going to hurt and betray her. The ending is as dark as you can imagine it. Visually it was a number of “static” scenes. The camera would fly through them, revealing details and telling the story through that. If you know the Spike Jonze’s 2-minute short “The New Normal” for MedMen – it’s pretty much how we wanted to do it.

That answers the question but I wanted to add a small P.S. to that.

After it became clear that the budget for realising that idea the way we wanted would be gigantic I had to start from scratch. Around that time the guys said “Hey, this is our debut video. Maybe let’s introduce ourselves to people, let’s make it about us”. That’s when all the torturous talks and my stupid questions came in handy: if I hadn’t gotten to know the guys enough I just wouldn’t be able to come up with the stories that you see in the video.

ROFFEKE: "Zero" hand-crafted all the Steampunk objects. What was your process of collaboration in bringing to life these objects? Were the objects part of the script or were they conceptualized independently? How long did it take to craft the objects? Which Steampunk influences did you refer to, if any?

EGOR: Some of the devices were in the script from the very beginning because they were essential for the stories (like, the saxophonist’s “charger”, the “head jukebox” and the camera with the built-in printing machine). Some objects appeared in the video just because “Zero” said “I also have this, do you want it?” and I went “Are you kidding?! This is even better than what I could ever think about!” That’s how the costumes for the two “guitar engineers” appeared, for example. 

Some of the “essential” objects were combinations of stuff that he already had but some had to be made from scratch (the “head jukebox”). Working with “Zero” was pretty easy. He is one of those guys who have a pretty solid style but at the same time great imagination and so it’s not a problem for him to think of something outlandish and you always know it will look awesome.

However, there was a moment when it backfired a little bit. When I briefed “Zero” I described the saxophonist’s charger as a rusty “infinite engine” (that’s what these wiggly things are called in Russia’s toy stores) and it seemed clear to him and it was probably the easiest thing to make from the whole list. But on the day of the shoot he brought the device he made – and it was a totally different thing altogether. It looked great but it was not doing what it’s supposed to do (which is move on its own and “create” energy this way). Turned out “Zero” didn’t know what “infinite engine” was and just came up with one (it’s not his fault, of course; it was my problem that I didn’t make it clear enough during the briefing). So we ended up not having a vital prop on the day of the shoot. So some people from the producers’ team went and bought a couple of those wiggly “infinite engines” and made them look rusty on the set.

I think all in all “Zero” spent several days crafting the things for us. He works pretty fast. As for references I think mine were “The city of lost children” and a little bit of “Brazil” but like I said, “Zero” had a pretty solid style he works in. So mostly he was his own stylistic reference.

ROFFEKE: You mentioned that your social anxiety could be a reason that you are a “terrible festival person”. What advice would you offer a new filmmaker who struggles with social anxiety?

EGOR: I have two opposite options for advice here.

Option #1: I don’t remember who said it but here goes: “Make your work so good that they can’t ignore you” and so you won’t have to approach anyone. The downside of this advice is that even if your work is bloody amazing you would still achieve a lot more with it if you socialized and networked. So I guess you will still need to consider option #2.

Option #2 is very tactical: Try starting the conversation by admitting that you are anxious but you want to talk to the person so much that you overcame it. Usually that opens people up. Also, if there are specific people you want to talk to, research is your friend. Find out as much as you can about them and you will not run out of things to talk about.

ROFFEKE: 2020 was a tumultuous year for most of us. What lessons did 2020 teach you?

EGOR: 2020 was indeed a year of lessons. Most of them were tragic because of all the lives that were lost. But there was one observation of a less tragic kind that I couldn’t help but make:

Humans are a lot less in control of themselves than they think they are.

During the pandemic there was quite a number of small human “side effects”. Like, for example, there was a couple of months in the beginning of the year when everybody (not sure about other countries but in Russia it was pretty common) became really mean to people who looked Asian (up to not allowing them to enter places) because everybody heard something about a disease spreading in China. I won’t comment on stupidity of such behaviour but what’s really sad is how people are prone to using very little information and not questioning the conclusions they’re making from it. Or the paradoxical situation where Russia was producing the vaccine, it was free for everybody to have but nobody was signing up for vaccination. And when you ask people why, they give you some vague answers like “I’m not sure about it” which make no sense at all.

It’s clear that these “mind glitches” happen because people just don’t know how to deal with a situation like that and their autopilots don’t have a suitable program for it. Which is fascinating and at the same time extremely scary to observe.

Check out the fascinating and extremely entertaining music video for "Never Ready" a song by The Bluestocking.

Director's Statement:

Since the music video was the band's debut, we set ourselves the task of introducing people to the band from the very beginning. But this acquaintance had to be not simple, but, first of all, very personal, and secondly, made in a style that would correspond to the unique sound of the band as much as possible. Each story turned out not only about the band members, but also about the universal, big problems that people face in life or bring upon themselves: addiction, burnout, dependence on other people's opinions. So the music video turned out to be fabulous, but also a very dark warning about how easy it is to lose yourself by submitting to your inner urges, even if they are very sincere.

Director Bio:

Egor Gavrilin was born on 15.12.1987 in Chelyabinsk, Russia. In 2010 graduated from Moscow State University of Culture and Arts as a director.

ROFFEKE OFFICIAL SELECTION 2020 (Partial Listing)

A Youtube playlist featuring some of the short films, music videos and rockumentaries submitted to ROFFEKE in 2020. Watch it here.

 'Tis the holiday season, so the first music video is "Just Like Xmas" by Tom Tikka.

The year 2020 has been a bit...much, and the theme and inspiration behind the second music video speaks to this:

"In a divided time, when only the most sensational acts are acknowledged by the public, a shy man longs to be seen and heard. In particular, he seeks the attention of a girl who mesmerizes him and awakens his creative passion, but when he falls prey to the seductions of easy fame, will he pay the price for losing his true self? The 5th chapter, "Woke," from Kenny Cash's iLLustrated Opera (dubbed the iLL Opera) features Jaqx finding the courage to use his voice,  but when he finally protests against the dividing forces that rule his world he is forced to confront his hyped up alter ego.  Musically, "Woke" Blend of punk, funk and jazz fusion w/ aggressive vocals which reflect the battle that ensues."

Director's Statement: " After nearly forty years on the planet without paying much attention to politics, I never imagined a time would come when I had to express my opinion on the political landscape of the world that we live in. But following the 2016 presidential election, not having a political voice seems to have become an impossible task. The world has started to look a bit like a cartoon to me, where interaction doesn’t happen so much face to face, but rather with hyper-caricatures of one another on social media. I had always loved comic books, science fiction, stories of illuminati, and tales of redemption, so voicing myself through an even more caricaturized graphic approach just seemed right. Being a part of social media left me with my own internal struggle, as it is easy to fall prey to its seduction and the pull of media in general. What we see and hear repeatedly tends to shape our thoughts and close our minds to other's perspectives. If, at the core, the majority of humans tend to desire similar things, then why are we so divided in our approach to obtain them? So this is my voice for the new generation: my kids’ generation. Find your voice, use your voice, but always challenge your voice by listening to another’s."

The last music video in this playlist is a rollercoaster romp through an other-worldly reality - sort of like what 2020 felt like. The difference is that this music video is fun to watch, the song is sure to get you moving and the story is captivating:

"The hero breathes a cloud of strange smoke. He bangs a spray paint that turns into a living and dancing cartoon robot in the wall. All over the city, we see graffiti come to life to join our protagonist, who is going to get caught, to end up like a black and white 2D poster on the wall (like JR). Guided by the robot / bomb in the wall, he will meet 3 characters, the freaks of Caravan Palace, scary and crazy, who will first haunt him, pursue him, then finally amuse him to the point of dancing with them in a crazy way." (Director: Béchir "Jiwee" Jouini)

The year 2020 has been a cloud of strange smoke. It has haunted us and pursued us but hopefully, with a bit of friendship, fun and freedom, we can get to the point of dancing with it in a crazy way and ending the year on a high note. Happy holidays everyone!

Review: Nice Shoes - Written and Produced by Tommy Mack, Directed by Jonathan Lawrence

Reviewer: Tetley

This epic music video has a captivating plot, making reference to over 40 popular Sci-fi movies and shows. A guy abducts an alien during its autopsy and takes it back to its mother-ship in an attempt to rescue it. Touching on space exploration and human experience with complex character exploration from the cast.

There’s nothing fancy about the lyrics. The line,“…At the end of the day, I am everything and I am nothing…” was what saved the otherwise crappy lyrics of the song. Regardless, this epic music video definitely makes your to-watch-before-I-die list.

Reviewer: Love Kassim (June 3rd 2020)

The video is captivating. Definitely in trend considering Space X trials to the moon and over are ongoing. I like the Sci-fi theme, in this case, the shoes being either the aliens or the astronauts. Rammstein meets Limp Bizkit type of vibe. Music is thought provoking; that line "I am everything and I am nothing." 

I love the inclusion of the Star Wars characters. Other Sci-fi references I noticed include Back to the Future, Men In Black, and Terminator.

Note from ROFFEKE: In this poster, there is reference to ET and Lexx. Top left is of course Men In Black. What are the other two Sci-fi shows/movies in this poster? In the music video, the opening is a parody of The Twilight Zone. Check out the whole music video here and see how many Sci-fi references you can list!

Review: Dear John

Reviewer: Mereru David Stanley

Fabulous song and a very beautiful composition by Kristen. Kristen is trying to express her love to John, how she loves him and how she has missed him.I like the content of this song: love is a beautiful bond that brings two souls together and distance does not separate true lovers but what is important is the true love between the two souls.This reminds me of the special person in my life; that distance may separate us now but my true love remains strong.I really love this song so much and the true content in it.

Reviewer: Love Kassim

I like the song. Vocals are not up there but it's a decent song. From what I gathered, the theme is loss. A lover or family who left them behind. Seems like there wasn't any closure.

They have dragged the song especially since the rapper comes in late and if someone was looking forward to that part, they'd have tuned out. The rapper should have had a longer part though coz them alone is just blunt.

Nice aesthetics!

"Kristen Karma explores the pain of loss with “Dear John (Feat. Marian Hann, Mr. ATP)”. Lyricism possesses a keen anguish for it explores the feeling of losing a parent."

"Dedicated to the memory of her father, with “Dear John” Kristen Karma gives us a thematic song that warms the heart and pulls at the strings of our deepest feelings.The result of her collaboration with emerging artist Marian Hanna and rap artist Mr. ATP, “Dear John” is a song with warm and colloquial lyrics. The theme of the track brings a moving message that melts hearts, to which anyone who has ever lost a loved one can relate ...."

Review: Pagando al Barquero (Pay the Ferryman)

Reviewer: Love Kassim

"Logline: Before the terminal boat ride, an old punk rocker travels back in space and time to try to make his life count."

Love the theme... music is great

Sultans, Pharaos, Caesars, Mandarins
all lusted for what Faust once tasted
but neither soothsayers, magicians
or monuments of blood
ever managed to move Caron.
They all sought special treatment,
to be placed above good or evil,
but whether Whores, Queens or Panhandlers,
we must all pay the ferryman

Concept is a tadbit confusing... did the lady pay the tribute to the ferryman? and is that tribute the kid? Who has grown to be that vocalist...

"Synopsis: On his final journey, the ferryman presents an old punk rocker with one ultimate ordeal. Judgement, symbolized in the figure of his young daughter, is held hostage while he chases death in a nightmare run through a tunnel which transports him instantly to the Madrid of his youth."

I see it's a going back in time kind of thing but one wouldn't get it if they have never seen similar themes.

"Shedding off the years and old age as he runs, he tries desperately to pass the trial and pay for the continuity of his child, before his own blood runs the last few drops of his existence through the hourglass of eternity."

The video reminds me of the supposed molten sulphur river where grim reaper sails you across to meet your doom.


Disrobe of your name and unmask your face,
where you're going you won’t be needing them
for as tears in rain your memories dissolve
in the voices of an immortal stream.
Your deadline is now being met,
you had your time to learn the lesson:
you only take what you leave behind,
once you pay the ferryman

I love the quality of the video.

Check out stills from the music video as you listen to an audio review by Winnie Miriti:

Interview: Javier Lozano Sánchez - "Better Whole" director, writer, producer

ROFFEKE: When you were 6 years old, you started drawing comics based on your favourite movies from the eighties. What were some of these eighties movies that inspired you?

JAVIER: My first comics were based on the movie King Kong (1933) I drew several sequels. King Kong never dies in my comics. By the time I was 13 I had already drawn comics based on Ghostbusters, Robocop, Aliens, Terminator, Batman, Darkman, Star Wars, Mad Max, and many more. My first stories were almost copies from those. I think they taught me how to tell a story. It's something I learned very young, so I really feel comfortable writing stories. After those amazing comics I started to develop my own ideas.

ROFFEKE: You made your first short film with a hi-8 camera when you were 13. What was the short film about? How long did it take you to make the film? What did you learn from the experience?

JAVIER: It was about a mouse from outer space. A boy (my little brother) finds it and then the mouse turns into a kind of gremlin. It was like a home invasión movie, but with a gremlin. The gremlin was a puppet of Ernie (Sesame street) we really customized for the occasion; it even danced in a scene!

We made the short in a week. I had to edit on camera, so I recorded and watched and then we repeated again and again. The short lasted almost 15 minutes.

I learned that it's more difficult to make films than to imagine them. It was an incredible experience, I had no idea about making a short film. There wasn't youtube to look for a tutorial!

ROFFEKE: What lessons did you learn from doing the Better Whole music video?

JAVIER: I learned a lot about visual effects, especially about 3D compositing. It was the first time I used a green screen with actors (musicians in this case). But everything turned out ok. Better Whole is a first step for more ambitious projects.

And I realized again, like in all the projects I'm involved (especially in short films), that it's very difficult to get that incredible image you have in mind. I think images and emotions are mixed in your mind, so they are almost impossible to reproduce. You need to deal with that and try the hardest to get something similar to what you imagine and feel.

ROFFEKE: If you had a budget of 1 million dollars, what would you do different for the Better Whole music video?

JAVIER: I think it would be better technically, and... well... honestly, if I had a million dollars I would not spend it on a music video or a short film... I would probably finance my humble film production company. .. Maybe I'll end up doing the same, but it will take me a lot more time without 1 million to start.

ROFFEKE: If you had a chance to go back in time to meet your 13 year old self just before you made your first short film, what advice would you give him?

JAVIER: Make the short film, make more, and do not doubt about what you really want. I'll tell him: As soon as you finish high school, go do what you really want and forget about everything fucking else.

And after that, I'll visit Doc Brown.

ROFFEKE at MV Fest

On 30th November, ROFFEKE was privileged to be a part of MV Fest, organized by Olamart Creatives. The venue was the beautiful and serene Oak Place Hotel and Conference Centre. The workshop, titled "ABCD of Screenwriting", was attended by actors, screenwriters, film students, models, a music video producer, an artist and a teacher. I used various short films and music videos that were submitted to ROFFEKE to illustrate the basics of screenwriting.

ANTAGONIST

"The antagonist (not the protagonist) must have the greatest willpower, which makes him or her the most powerful character in your story."
- Michael Tabb.

Screening: THIS IS JOE



The protagonist can be his or her own worst enemy.

SCREENING: RITA



BACKSTORY

One of the many things that Backstory helps a writer to do is identify conflict. "Conflict is the fundamental element of fiction, fundamental because...only trouble is interesting. It takes trouble to turn the great themes of life into a story..." - Janet Burroway.

Screening: ROCK IS NOT AN ATTITUDE



CONFLICT

Three types of conflict:
Man versus self (intrapersonal)

Man versus man (interpersonal)

Screening: ON THE FLOOR

On The Floor from Georges HH on Vimeo.

Screening: TAP



Man versus environment

Screening: WALL OF DEATH

Synopsis: "A meteorite flies to the earth and threatens to destroy an open air rock'n'roll party. Through the power of a "Wall Of Death" the festival visitors can save the party!"



DIALOGUE

"A good film script should be able to do completely without dialogue." - David Mamet

One participant wanted to know what the screenwriter's role was if no dialogue was used in a movie. I explained that the screenwriter is the one who writes a lot of what will appear on the screen.

Screening: THE SOUND OF ROAD



Screening: MEASURE OF A MAN



(Check out the interview with Measure of a Man director and actor here)

I ended by asking the participants: What are the ABCDs in RED OMEN?

Screening: RED OMEN

Synopsis: "Award winning Canadian singer songwriter Ed Roman along with animator extraordinaire Nelson Diaz from There Be Dragons Creative Media in NYC have created an exquisite animation to the title track of Ed Roman’s latest album Red Omen. The message is for awareness of Dyslexia."



(Read ROFFEKE Volunteer, Zafrica Hasaja's review of Red Omen, here)

We ended with a short discussion on the challenges and opportunities in the Kenyan film industry.

Review: Blurred Memories

Review by Joseph Ochieng(Intern)
Band: Shake The Deaf
Production: French Connection Films
Director: Joffrey Saintrapt
Actors: Tyler Parr, Kristi Ann Holt

The story, crafted by Joffrey Saintrapt, is about the life of an old man longing for the early days of his life. Moreover, this music video takes the viewer through a comparison of the then-versus-now of the man's life. The opening montage begins with fireworks then crosscuts help introduce the lead character (Tyler Parr) and the state of confusion he finds himself in. The Montage builds suspense as the viewer keeps guessing, while the events unfold. The character’s world is introduced by a montage of panning and tilting shots while he is still lying on a park bench, owing to the intrapersonal conflict he finds himself in, trying to unravel the circumstances which led to his current status.

The music starts from simple, melodious rock bits which escalate to hard rock as the viewer is thrust into the early life of this character. Joffrey Saintrapt has succeeded in the use of reverse motion during the flashback sequence. The actor enters into something like a daydream as he lies on the park bench. In the dream sequence, he leaps into his yesteryears, while all his idiosyncrasies play beforehand; he is energetic, swings himself at a park, meets with his love, walks in the streets, and goes to nightclubs. The reverse speed helps in getting into the mind of the character, as he is nostalgic about how he spent his youthful moments. In the flashback scenes, the reverse motion is accompanied by high pitched rock 'n' roll as well as the baroque tunes. The close-up shots of the words NO EXIT and EVICTION show that however much the character is on a journey of self-rediscovery, he might do only a little to get the answers he is seeking. Considering, he is aging, and life has reduced him to a pauper, a loner, and a binge alcoholic.

This is a music video that makes you want to pause in between the scenes to ingest every bit of the techniques used.

Interview: Steven C. Knapp - Director of music video for "Rhythm in the Spirit" by Kansas

ROFFEKE: What lessons did you learn working with a more mature band such as Kansas?

STEVEN: I'd like to answer your question initially through the lens of a subject that I know many creatives struggle with: Self-doubt. My first thought upon getting the gig was, "Who the fuck am I to get to be a part of Kansas' creative legacy?" At the time, I was going through a very nasty breakup and was already feeling very low due to petty gossip being spread around Nashville's film community. I felt like I didn't deserve this amazing opportunity, and doubted my talents, my work, and my existence, really. My awesome producer, the Emmy Award® winning Zac Adams of Skydive Films, and I had made a solid shooting schedule with the very short time we had available, and we stuck to it.

Lesson #1: None of your troubles matter when you have to execute with precision.

The members of Kansas are highly professional, and expect the same. I experienced this in both the pre-production communication, and on-set. Our mutual respect for each other's professional reputations was evident during production; they trusted me, and I trusted them.

Lesson #2: Where there is trust, there is also respect.

As the shoot began, we learned that drummer Phil Ehart, an original member, had limited availability to save his drumming power for the evening's show. We adjusted; no problem. I thought it was cool that even though this video was going to be seen by hundreds and thousands of loyal Kansas fans, Phil's focus was also on that evening's audience. In the end, his on camera performance was just as powerful as his performance that night.

Lesson #3: Always think about your audience.

We knew very early on that we wanted to capture Kansas's music in a very raw form -- no frills, no pedestals, no highly conceptual story. Just rock and roll. Just Kansas doing what they do. That essence has little to do with the number of years someone has lived. These guys rock, their music rocks, and they always will.

Lesson #4: Your age is your attitude.

ROFFEKE: You have done a number of projects for non-profits. Non-profit topics are usually serious and rather "non-sexy". How do you go about reconciling the seriousness of the topics (such as anti-bullying) while still making the film or documentary entertaining, interesting and "sexy"?

STEVEN: I don't believe entertainment always has to be overtly "sexy" or mindless -- it can actually be a force for good if wielded in the right way. It all comes down to story and execution. With HEAR ME NOW, a feature length anti school bullying documentary co-produced with, and directed by, my longtime friend and Emmy-nominated filmmaker Bill Cornelius, it was all about the visuals. We tried to make it as cinematic as possible to catch young peoples' eyes. We tried to have engaging stories that they could relate to, or have experienced themselves. We commissioned a song from a rock band as a title track. These are all things I think all of us [the co-producers] would've liked to see if we were kids watching it. I recently received a business card with definition of entertainment printed on it: "The action of providing or being provided with amusement or enjoyment." I'm a words guy, and words matter. I would argue that giving someone, especially a child, the knowledge that they are not the only person experiencing bullying, and some insight into it, is a positive, enjoyable, and empowering feeling. HEAR ME NOW is available on Amazon Prime.

ROFFEKE: You enjoy "being as awesome as possible". What does it take to stay awesome in a world and in an industry that can be harsh, cut-throat, cynical and soul-sucking?

STEVEN: It takes honesty, integrity, and a sense of humor. The aforementioned breakup really fucked with me in that department and I saw how terrible some industry people could be. Some of those same people, after a certain amount of time, tried to fake nice or act like nothing happened to continue getting work. That is very funny, now. This industry has blurred lines between personal and professional relationships, and do believe one influences another. Believe it or not, how you treat people matters. Maybe that's a Nashville attitude because it's a small town, and word travels fast. To stay sane and on track, you have to keep a good, tight, inner circle of people who share the same values (and it ain't how many followers or likes you have). Having an internal understanding of what you will and will not accept from people is certainly important. Often, people will show you who they really are are and it is best to believe them the first time. I definitely believe that harmful people have to go, the helpful people can stay, and the neutral people are suspect. I had a moment of clarity during all of this when an influential and respected industry friend of mine said "You have to prepare yourself to enter the global film community." It made it much easier to leave the soul-suckers to feed off each other, and not me. I am thankful for them, as I now know what that looks like. People who I thought were torturers, were actually messengers.

ROFFEKE: Your favourite female director?

STEVEN: I really like what Megan Park did with mansionz for their 'Rich White Girls' music video. Hilarious, inane, but also very moving. I also really enjoy Hanna Lux Davis, who does music videos for some of the top pop acts in the world.

ROFFEKE: Advice for aspiring music video directors?

STEVEN: Whether it is music videos, films, or any other creative or personal endeavor.. the biggest advice I can give is: You must be present to win, so show up!

"Everytime I See You I Go Wild": Directed by Paul D.

"Kim Wilde, clad in a skin tight black PVC catsuit, battles zombies, vampires, werewolves and demons, as she fights to attract the attention of the man she loves, but what will happen when they finally come face to face?"

ROFFEKE: If you could take one prop and one character from the "Toadlickers" music video and use them in the "Everytime I see you..." music video:
a. Which ones would you pick?
b. Why?

PAUL D: Huw Heftoad would have a ball in the club featured in 'Every Time I see You I Go Wild'...though he might have to swap his smoking jacket for a green leather outfit.

(Watch bluegrass-flavoured "The Toadlickers" by 5-time Grammy Award nominee, Thomas Dolby)

Thomas Dolby - 'The Toadlickers' (Canon 5D Mark II HDSLR) from Paul D on Vimeo.

ROFFEKE: Lighting is important in horror projects. Tell us about some of the lighting techniques/tricks you used in the "Everytime I see you..." music video.

PAUL D: I discuss the lighting techniques/tricks we used in an extensive behind the scenes feature that's published on my blog: http://paul-d.tv/blog/2013/07/24/b-e-f-kim-wilde-behind-the-scenes/
In brief though, my approach to filming and lighting is old school in that, where possible, I like to get it right in camera, rather than to fix it in post, or rely upon grading to create a look. In the club scene there's a big reveal that's punctuated with a change of colour palette. Many DPs would have spent hours going through the tortuous process of taking test shots, creating & exporting LUTs, colour calibrating cameras & monitors and importing those LUTs into them, before shooting; whereas we spent about ten minutes simply re-gelling the lights. As Wing Chun teaches us, the shortest path between any two points is a straight line.

ROFFEKE: What was it like working with Kim Wilde?

PAUL D: Kim was an absolute delight to work with. She is a consummate professional, took direction extremely well, and worked very hard.

(Watch "Kids in America" by Kim Wilde)

KIM WILDE~ KIDS IN AMERICA from Jeniffer Juniper on Vimeo.

ROFFEKE: Advice for aspiring music video directors?

PAUL D: Get a proper job!

ROFFEKE: Your favourite female directors?

PAUL D: Nora Ephron, though more so as a screenwriter than a director;
Sophia Coppola - I loved 'Lost in Translation';
Dawn Shadforth & Claire Boucher for their music videos;
Molly Dineen for her documentaries;
George Hencken for her film 'Soul Boys of the Western World', which is by far the best documentary that anyone has made about music in 1980s Britain. I know that much is true.
Juliet Forster is one of the UK's best theatre directors. She is consistently brilliant.

Happy Halloween!

About Paul D.

B.E.F. featuring Kim Wilde - 'Every Time I See You I Go Wild' from Paul D on Vimeo.

Nikola Tesla, Colorado Springs and Jardin de la Croix

10th July marks the 161st birthday of Nikola Tesla. Who is Nikola Tesla? He is the man you should spare a thought for every time you plug in your electric guitar or charge your smart phone or use the Internet!

Tesla Trivia: Tesla is the subject of a song by They Might Be Giants (the guys who sung the theme song for Malcolm in the Middle: You're not the boss of me now and you're not so big). This Tesla song appears on their 2013 album titled Nanobots.

Tesla

Brought the X-ray photo to the world

Brought the AC power to the world

It is claimed that Nikola Tesla filed over 700 patents. We have him to thank for Alternating Current (AC) and if things had gone well, we would have had him to thank for free electricity! Tesla pursued his innovative ideas for wireless lighting and global wireless electric power distribution in the experiments he conducted in New York and in Colorado Springs.

Colorado Springs is the name of a song by Math Rock band Jardin de la Croix, off their album "187 steps to cross the universe". The music video for Colorado Springs was #ROFFEKEOFFICIALSELECTION2015 and was edited by Manuel Pascual, who was also the cinematographer and the production manager. The scriptwriters were Pablo Peris and Manuel Pascual.  Synopsis: "Last day of Nikola Tesla's life"

Here is a mind

That can see across space

Here is a mind soaring free

Sound turns to light

And light turns to waves

And waves turn to all things perceived

The Colorado Springs music video begins with the following information: "Nikola Tesla spent his last days in the New Yorker Hotel plunged into poverty and the oblivion. Sick and old, the ghosts of the past torture him. This film tells about his frustration against Thomas Edison who achieved success at Tesla's expense; his obsession in proving extraterrestrial life with Mary Orsic; his deep fear of intimate relationships, or as the Nazis and the FBI tried to appropriate his inventions like the Death Ray and the Philadelphia Experiment. Trying to enlighten our life, kept his in darkness."

Maybe that knowledge would drive one insane

How can that knowledge be tamed?

One of Nikola Tesla's famous quotes appears at the beginning of the music video: "Let the future tell the truth and evaluate each one according to his work and accomplishments. The present is theirs; the future, for which I have really worked, is mine." 125 years after Nikola Tesla was born, a band that was going to be named after him was born. City Kidd was renamed Tesla in 1986 during the recording of their first album titled "Mechanical Resonance". Tesla named some album titles and songs after events related to Nikola Tesla. For example:

The Great Radio Controversy - This 1989 album is titled after the controversy about the identity of the inventor of radio. It is posed that Nikola Tesla is the true inventor of radio, while Guglielmo Marconi took the credit.The album's inner sleeve tells this story. Six months after Tesla's death, the US Supreme Court ruled that all of Guglielmo Marconi's radio patents were invalid. The court then awarded the patents for radio to Tesla.


Tesla

Ushered the radio wave into the world

Ushered the neon light

Into the world

Psychotic Supper  (1991) - The lyrics of Edison's Medicine speak volumes:

He was electromagnetic, completely kinetic,

"New Wizard of the West."

But they swindled and whined that he wasn't our kind,

And said Edison knew best.

Tesla Trivia: David Bowie played Tesla in the 2006 film The Prestige. One of the main characters gets Tesla to develop an electro replicating device.

Under an X-ray of Mark Twain's skull

The plan for the death-ray's design

Nikola Tesla was born during a fierce electrical storm. A midwife is said to have declared that the lightning was a bad sign. The music video for Colorado Springs ends with lightning and is very reminiscent of the ending from my all time favourite film, Powder.




The Hotel New Yorker

He's dead on the floor

The body of Nikola lies

With just his papers

No family to tell

Out of the windows birds fly


Tesla Trivia: It is reported that when Albert Einstein was asked how it felt to be the smartest man in the whole world, he replied: "I wouldn't know. Ask Nikola Tesla."

Review: Superfama

Reviewer: Josephine Koima

Director: Olga Osorio

Producer: Olga Osorio

Duration: 3mins 45 sec

Country of Origin: Spain

This music video, ‘Buscandia a Superfama’ which means ‘Looking for super fame’  is sang by a  Galician rock band ‘Herederos da Crus’. They started singing in Riberia, a town in Northwestern Spain. Though band members have changed since 1991, the current ones are Antonio  ‘Tuchino’  Novo Suarez (main guitarist),Antonio ‘Tonito’  Ageitos Ares (guitarist),Francisco ‘Fran Velo’ Javier Velo Cambeiro and Francisco ‘Javi’ Javier Maneiro as the lead singer.

The video set is a backstage dressing room with costumes, hair accessories, lighting , furniture and other elements that the band wanted to reflect their humorous and fun-loving personalities and spirit. The song talks about kids who want to be rockers and the musical whim they will need to get ahead in the music world by playing in an orchestra. The ‘special’ piece chosen for the single came as a result of a request made by the orchestra Panorama to the band, with the intention of including one of the band’s themes, on a charity album intended for the fight against cancer. What I enjoyed about the film is the excessively garish and sentimental art employed by individual members e.g having a toilet with oars, (Antonio Novo’s idea) which to me was funny, but weirdly appropriate.

One should appreciate the precision and coordination when it comes to the pace of costume changes for the members. Considering that there was minimal camera movement, only a fixed plane with a dolly-out, they achieved that technical aspect pretty efficiently.

When you look at the band’s previous works, there are certain elements that define them. They are fun, colorful and include a lot of fast paced movements in their videos. In fact, with regard to their themes, appearance and lyrics, they consider themselves more like AC/DC and infuse influences like The Rolling stones.

For me, the fun in the video and reading about their history made me appreciate the changes the band has made over the two decades they’ve been in the music industry. You certainly don’t have to understand Spanish/Galician to enjoy ‘Superfama'.

Review: The World is Dancing

The World is Dancing
Director: Stefano Bertelli
Producer: Ekat Bort (Artist)
Duration:3mins 53 secs
Country of Origin: Italy
Reviewer: Josephine Koima

Since ROFFEKE has been exploring Films with Sustainable Development Goals’ related themes, this song by Ekat Bort reflects SDG 2: Zero Hunger.Ekat describes her music as ‘explosively sensual'.She displays energy and vigour not only in her video but also in her sound.

This lively video is in a desert setting. The elements of dried up trees, rocky terrain, somewhat desolate environment speaks volumes of what the song is about. She highlights the needs of children in the world, who despite their hunger and crushed dreams, they still manage to find little meaningful happiness in play, laughter and dance. They are innocent and full of hope. We see that through the projections of videos of children on buildings, even though the houses and streets seem deserted.

The lyrics say so much of what should be done to help ‘A lot of children… Live without care,love. They must grow up too fast...We’re tired…we’re hungry, but we’re still dancing. Together we have hope and don`t forget to smile’

You will probably want to watch it more than once, as I did, if you feel that everything’s going too fast. And if you usually like to draw fine distinctions, the video will definitely captivate you, from the drumbeat sounds, to the dancing, to the costumes.

ROFFEKE at BFMA 2016, 24th November.

Review by Josephine Koima: Intern

Broadcast Film and Music Africa is a business and technology event that serves the creative content and electronic media industry through a marketing platform. They have held such events annually for 7 years to bring together stakeholders in these three industries to empower them with knowledge that will strengthen Africa’s electronic media future. This year’s BFMA was held at the Kenya National Theatre and targeted TV broadcasters, Radio Broadcasters, Film and Music Production companies, Animators, Pay TV companies Advertising and Marketing agencies and many more.

Roffeke was invited and in conjunction with Kenya Scriptwriters Guild, they showcased the progress in the Film industry by their various representatives.In particular, Roffeke’s screenings focused on short films and music videos whose themes centred on particular Sustainable Development Goals. These goals were adopted on September 25th 2015 by a set of countries that desire to end poverty, protect the planet and ensure prosperity for all by the year 2030.

Films scheduled for screening were as follows,

SDG 1: No Poverty

1. Blurred Memories. A Canadian film directed by Joffrey Saintrapt.*
2. October Horse, Directed by Pedro Santasmarinas from Portugal.
3. An animated film for the music ‘Fairytale’ by El Sobrino del Diablo, from Spain, directed by Josep Calle Buendia..

SDG 2: Zero Hunger
1. Meat is Murder, directed by Elodie Despres and Stephane Elmadjian, is a film featuring a rock musician James D. Lee..*
2. The World is Dancing- Directed by Stefano Bertelli from Italy.*

SDG 3: Ensure healthy lives and promote well-being for all at all ages
1. Grandpa – Directed by Medhat Maged.*

SDG 5: Gender equality
1. An Angel’s Tale by Sara Boix Grau
2. Superfama by Olga Osorio
3. Rock is not an Attitude by Xiaoxiao Tang

(*Due to time constraints, we were unable to screen some of the films)

Apart from these screenings, the session involved a brief introduction to screenwriting, undertaken by both Jackline Emali, a representative from Kenya Scriptwriters’ Guild and Roffeke founder, Mildred Achoch. The discussion centered around the basics of scriptwriting, , the dyanamics of a good story , how to mould characters, types of conflict and the structure of a professional script.

It was encouraging to see the huge turnout of young people interested in film, and hopefully, their enthusiasm will continue building the Industry.