This is Qué Palabra, directed by Eduardo Yagüe: a Spanish-language interpretation of Samuel Beckett’s poem “What is the Word” with the original text in subtitles. Jenaro Talens is the translator, and Sergio Cabello the actor. It’s been screened at the 6th International Video Poetry Festival 2018 (Athens) and Festival Silêncio 2017 (Lisbon). I think it’s fair to say that it is very, very Beckettesque. Also, the closing shot is brilliant.
A brand-new collaboration between two seasoned poetry-film pros, Spanish director Eduardo Yagüe and American writer Matt Mullins, who edits the mixed media section of Atticus Review. Although Matt’s own videopoems are often very effective, here he supplied just the text, voiceover and music, and Eduardo did the rest — the same division of labor as in their 2016 film The Hero is Light. The actress here is Rut Ayuso.
London-based translator and poet Jean Morris provided the texts for this bilingual filmpoem by the Stockholm-based Spanish director Eduardo Yagüe. Soprano Juana Molinero sings the Pie Jesu from Fauré’s Requiem in the soundtrack, providing a pleasing contrast to Yagüe’s voiceover.
A recent addition to Lucy English’s ambitious, multi-filmmaker Book of Hours project, this time from director Eduardo Yagüe—his third for the project, I think—with music by Podington Bear, voiceover by Rebecca Tantony, and an appearance by the actress Gabriella Roy. The stark contrast between the wintry footage and the summery text creates an interesting spark gap for the imagination to leap.
Earlier this week, Spanish filmmakers Javi Zurrón (Myblue Audiovisual) and Eduardo Yagüe simultaneously released these two films based on the same poem by the Texas-based writer James Brush, from his collection of road poetry, Highway Sky. In the Myblue Audiovisual version, Brush’s recitation is in the soundtrack, with Yagüe’s Spanish translation in titling; in his own film, Yagüe reads the translation and the original appears on the screen. In their footage and soundtracks, the two films are completely different but complementary, interpreting the text in a similar manner. Aida Riesgo of Myblue Audiovisual stars in both, and Javi Zurrón is the male actor in Yagüe’s Gasolina.
The romance of the automobile is as old as pop music, but usually it’s some specific hot car or motorcycle, not gasoline itself, that is depicted as an object of desire. These videopoems feel simultaneously new and deeply indebted to the music video tradition, not in the soundtrack but in the iconography (a scene of a rock concert, a Ramones t-shirt, a tattoo, etc.).
Spanish poet Estefanía González appears as one of three actors in this film interpretation of her poem from director Eduardo Yagüe. The English translation in the subtitles is the work of Jean Morris, and the music is from Swoon‘s album Time & River.
The poem appears in González’s 2013 collection Hierba de noche, which, according to this webpage, was born in large part from her activity on blogs, Twitter, and other social networks and internet collaborations. So it seems especially appropriate that her work should now be the subject of further web-based collaboration and transformation. As a blogging poet myself, I love her description of her outlook:
Sigo desperdigando poemas y semillas por las cunetas. Sigo vertiéndome como un jovenzuelo infinito. Sigo prefiriendo lo por venir a lo obrado. La perfección aún me recuerda a la muerte, cualquier elección me recuerda a la muerte. Quizá se trate de inmadurez. Seguramente.
(I keep scattering poems and seeds into the gutters. I keep pouring myself like an endless youth. I still prefer whatever is coming to what’s already been made. Perfection still reminds me of death, any choice reminds me of death. Maybe it’s immature. Surely.)
Eduardo Yagüe translated Lucy English’s poem into Spanish as well as into film here, and the result is, I think, an excellent fit for her Book of Hours project, casting the text into the imaginative space of temps perdu. The geographic/linguistic distance and change in the expected sex of the narrator create additional resonances. And actor Steffan Carlson’s silence is so eloquent as to supply almost a third voice to the mix. Qué es el amor? is a brilliant demonstration of how to use the narrative style of filmmaking to comment upon and transform a lyric poem.