Inspired by the author’s travels through latin America, « Alba, the wandering shadows » is a movie, an album and a cinematic live show in its original form. The soundtrack of the movie, performed by Hypno5e‘s acoustic alter ego band A Backward Glance On A Travel Road (featuring the exact same members) captures the essence of that whirlwind which blurs and reunites age, dreams, and reality.Download Digipack CD Vinyl 2xLP
« Alba » is an artistic project, mixing cinema and music to revisit their original bond; a concert to illustrate in real-time, the original soundtrack of a movie, creating a genuine musical and cinematographic experience.
« Alba » is a movie, a concert, an album: a creative triptych brought to you to deliver a real and complete live show; a cinematographic live show in its original form.
A mixture of folk, rock and classical music, A Backward Glance On A Travel Road helps immerse yourself totally into a cinematographic universe. Crystal-like vocals and samples are dialogging into a maze of sounds, inspired by the author's travels through Latin America.
From « A Backward Glance On A Travel Road » to « Alba, the wandering shadows » , there's just a step, which this project aims to enlighten.
« Alba, the wandering shadows » was shot in Bolivia, where the director grew up. It's a poetical dive into the memories of a man searching for his lost mother and land; an elegiac meditation about the impossible mourning of childhood.
Entirely self produced, this movie was made possible by a reduced team and budget. Seven friends (french and bolivian), passionate actors and technicians helped this audacious and ambitious project become concrete. Complete artist, Emmanuel Jessua composed the original soundtrack with his band for this first full length movie, « Alba, the wandering shadows » .
« The idea of this movie was born in the Amazon forest, precisely in Rurenabaque, on the terrace of a small hotel on the Beni river shore. I was only 10 years old and had been living with my family in Bolivia for more than five years. That day, we had left La Paz where my mother used to be the Head of the Alliance Française, and to reach the edge of the forest we drove along one of those steep roads, a dangerous but wonderful road running through the tropical valleys of the Yungas. The day was ending, we were getting closer to the sound of the city, astonishing, and I remember being overwhelmed by the certitude that around this country and these emotions was acting what would definitely build my existence, and that only creation could translate it.
There, I was experiencing life with an incredible intensity, in a fantastic environment: immoderate elements and giant spaces, uncommon stamping of man on the landscape, resistance of the last natives, their bareness, their deep humanity, singularity of arts, the complexity of their faith, beauty of the religious syncretism, fervor of the carnivals... In that fantastic environment I discovered music (I learned piano at the music school there) and cinema since I was given the chance to attend the shooting of Jorge Sanjines' Para recibir en canto de los pajaros of which the wonderful musical theme sung by Emma Junaro still moves me to this day.
That evening, I remember so well, sitting close to my parents, in the sultry of the night, writing the first words of a scenario which would talk about Bolivia, about witchery, about mystery, about the tragic beauty surrounding me, also about myself, about my fleshly relation with that country, through a character which would be a pianist affected by the madness of the dawn, El Alba, that incredible ceremony which, at the end of the Oruro's carnival, lauds in a surrealist cacophony the power of life and the human tragedy.
I have lived under many more latitudes since that magical evening; I also made my way between musical creation and pictures, still the idea of that scenario mixing the three passions of my life, cinema, music and Bolivia, never left me. The scenario took shape along my numerous other trips, in Bolivia and even more in the forest. Last year I decided to give birth to that project.
I wish to render that constant overtaking of limits I feel when I'm in Bolivia: the limits between the gods and human, between sanity and madness, between the past and the present. That's in the religious and musical syncretism of the Oruro's carnival (where my mother used to dance each year) that this overtaking of limits can be witnessed the best. Where myth and reality deeply mingle, until we lose all landmark for a moment. No more time or space.
The soundtrack of the movie, a real character in itself, will also be taken into that whirlwind which reunites ages, dreams, and the concrete.
This movie allows me at last to deliver my conception of writing and my conception of music, my intimate passion for that country, for which my yearning is infinite. It is the synthesis of my artistic journey, the incarnation of my visceral attachment to Bolivia, and a sincere tribute to that unrecognized (or underrated) country, all at the same time; it is the embodiment of an ancient dream that I hope to share with the public. »
Teared from his family after the disappearance of his father, Mickael returns to his native country, Bolivia.
He meet back his brother, William, in San Javier, where they used to live before. They get closer and love the same woman, Cristina. They learn the death of their mother in La Paz. After the funeral, Mickael leaves alone in the desert where his father disappeared, and starts a wandering leading to the shadows of past.
« Alba, the wandering shadows » is a poetical view in the memory of a man seeking a forgotten land and lost mother, a elegiac meditation on the impossible mourning of childhood.
Writing of the first scenario as a fictional documentary movie, by Emmanuel Jessua.
Crowdfunding campaign (7000€ raised).
A crew of 7 people goes to Bolivia for a two months long shooting in La Paz, at the Oruro carnival, into the South Lipez desert and in the Jesuit missions area in Eastern Bolivia. Following this first stage of the spotting and shooting which permitted the casting of the actress Paola Ona, E. Jessua decided to turn his project into a narrative story, giving him more creative freedom.
Emmanuel restarts the writing of the project, choosing to make a fiction, a full length movie which would be shot the next year. To work on his new scenario he is helped by his father, Thierry.
A new technical and artistic crew is set up. The preparation of the shooting begins, as well as the search for funds.
The search for institutional funds turns fruitless, but the director and his team refuse to abandon the project. They decide they would go to Bolivia in July and August to start the shooting with a reduced crew with their own technical and financial means. Preparation begins.
Emmanuel Jessua gets a 15 000€ loan which will pay the transports, the gear and diverse expenditures in Bolivia. The technical and artistic team (7 people) agrees to volunteer in this venture.
Bolivia, two pickup trucks drive the crew around the country for 6 weeks of extraordinary shootings: low budget, a Canon 5d, a few accessories, a sound guy and an enthusiast crew ready to rise above difficulties and to achieve the project.
Starting the montage in France. After a few episodes of trouble Emmanuel ends up making the montage himself in March 2015 to finally achieve the movie, giving it his own overall vision.
A film by Emmanuel Jessua
Written by Thierry & Emmanuel Jessua
Produced by Emmanuel Jessua
Sound & Mix: Thibault Lamy
Assistant Director: Marion Guerrero
Editing: Emmanuel Jessua
Music: Emmanuel Jessua & Hypno5e
Location Manager: Florian Garcia
Script: Julia Baccan
Making Of: Manon Jessua