SUBA : Life,Death,and the Perfect Groove.

Inspired by the concept ( and success ) of the animated documentary 'Ryan', by the structure of David Mitchell’s novel 'Cloud Atlas' with its subtly Interrelated short stories,and set in motion by a series of personal coincidences*, 'Suba: Life, Death, and the Perfect Groove' tells the true story of a musical visionary in an appropriately imaginative way,and shows how his music affected some of the most highly regarded artists in the world of Fantasy art.

Punctuated at key moments by music videos designed and directed in contrasting graphic styles and in full colour, the documentary section,narrated by his mother and his closest friend,is presented in a spare black and white style,is the central strand that holds all the disparate elements together,the whole becoming a sort of mini-Fantasia for contemporary music.

“The Synchronicities of Suba”

SUBA: LIFE, DEATH, AND THE PERFECT GROOVE...A Synopsis

A 30 minute animated documentary on the life, music,and tragic death of Mitar Subotic….SUBA. The film is constructed as an imaginative documentary on Suba’s life and death,drawn in Black and White, and narrated by Zoran, his closest friend, (in English) and by his mother Ruza, (in Serbian with subtitles) and punctuated at key moments by six music “videos”, using tracks from Suba’s CD 'Sao Paulo Confessions.' These music sections will be in full colour, and directed/designed by different artists, reflecting the variety and contrasts of the music.

(Directors/Designers include Dave McKean, Chris Moore, and Jean Christian Knaff.)                                                

www.mckean-art.co.uk

www.chrismooreillustration.co.uk

www.knaffmiceli.com

 

The documentary begins with Suba's death in a studio fire in Sao Paulo, Brazil, the night before he was due to fly back to Europe to promote his CD. We then witness the Memorial in his native city, Novi Sad, Serbia, that took place three weeks later, before hearing about his personality as a young man, his dreams, passions, and gifts. In this narrative part of the film, the Suba character appears rather as a dancer might in a ballet, his actions symbolic and metaphorical, rather than literal, his identity shifting from juggler to acrobat to street magician. We watch him adjusting to the craziness of the sci-fi megalopolis of Sao Paulo, defining and developing the samba, see how close his work brings him to international stardom before returning once more to the Memorial where This time the mourners ( in black and white ) are joined by characters from the ( colour ) music videos.

The musical sections, with all their colour and contrasting styles, represent Suba's interior life, his imagination. They will not necessarily present a linear narrative, but will illustrate and amplify the moment in the Story where they appear. They will be complete in themselves, but will fit snugly into the broader context of the documentary. Their primary function is to bring expression and drama to the central fact of Suba's life, his music. And this film is, above all, about music.

Music Tracks: (From "Sao Paulo Confessions" unless otherwise stated.)

1.Um Dia Comum (Track 7) Opening Titles
2.A Noite Sem Fin (Track 12)
3.Na Neblina (Track 3)
4.Samba da Gringo Paulista (Track 9 )
5.Abraco (Track 10)
6.Sereia (Track 8)
7.Pecados da Madrugado (Track 11)

 

The first visit to the Memorial is accompanied by a 14th Century Serbian Orthodox chant, the final one by "Futuro Primitivo", a percussion piece by Suba from the CD 'Tributo.'