{"id":3924,"date":"2021-05-13T13:30:51","date_gmt":"2021-05-13T11:30:51","guid":{"rendered":"https:\/\/ponderosa.it\/nomadland-the-father-e-il-cinema-di-ludovico-einaudi\/"},"modified":"2021-06-10T11:59:38","modified_gmt":"2021-06-10T09:59:38","slug":"nomadland-the-father-e-il-cinema-di-ludovico-einaudi","status":"publish","type":"post","link":"https:\/\/ponderosa.it\/en\/nomadland-the-father-e-il-cinema-di-ludovico-einaudi\/","title":{"rendered":"Nomadland, The Father and Ludovico Einaudi\u2019s cinematic universe"},"content":{"rendered":"\n
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10.05.2021, by Giacomo Luperini<\/p>\n\n\n\n

Ludovico Einaudi\u2019s new album \u201cCINEMA\u201d is a collection of the Italian composer\u2019s most renowned movie soundtracks, ranging from \u201cFuori dal Mondo\u201d and \u201cIntouchables\u201d to Oscar winners such as \u201cNomadland\u201d and \u201cThe Father\u201d<\/p>\n\n\n\n

How many different species of trees can be removed from a forest before it is no longer a forest and becomes a garden, a mere group of plants? What would a Mediterranean grove be without its hollyoaks, or an Alpine forest without its firs? What would happen if we removed the soundtracks from such movies as Chlo\u00e9 Zhao\u2019s \u201cNomadland\u201d or Oliver Nekach\u00e9 and \u00c9ric Toledano\u2019s \u201cIntouchables\u201d (\u201cThe Intouchables\u201d)?<\/p>\n\n\n\n

Most movies in the history of cinema, if deprived of their soundtracks, would lose part of their framework, the very trees that make up their forests. And, if those soundtracks had been written by Ludovico Einaudi<\/a>, this would even result in a loss of narrative structure and continuity.<\/p>\n\n\n\n

On June 4th, 2021 DECCA Records will release Ludovico Einaudi<\/a>\u2019 s new studio album \u201cCINEMA\u201d<\/a>, a selection of the many successful collaborations between the Torinese composer and the silver screen.<\/p>\n\n\n\n

For the past 20 years, Ludovico\u2019s music has built an unstructured architecture around great cinematic classics, earning praise from public and critics alike. His latest contributions include Oscar winners and film festival successes such as Chlo\u00e9 Zhao\u2019s \u201cNomadland\u201d and Florian Keller\u2019s \u201cThe Father\u201d.<\/p>\n\n\n\n

\u201cCINEMA\u201d is a collection of the best pieces that have accompanied the intimate, deeply human cinematography associated with Ludovico’s work, constantly evolving alongside the ever-changing language of movies.<\/p>\n\n\n\n

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Ludovico<\/a> and movies are joined by a strange thread, made of coincidences and emotional echoes. It could well be the subject for a book, the way directors have often found his music by chance, and chose it because it echoed their own feelings. Some examples are by now the stuff of legend: shortly after shooting Nomadland, for instance, Chlo\u00e9 Zhao searched Google for the keywords \u201cbeautiful, nature-inspired music\u201d and stumbled upon a video of Ludovico playing the piano against a landscape of icebergs. Zhao chose Ludovico because she could see an analogy between his music and her protagonist\u2019s thoughts, the constant, timeless sense of ecstasy she seemed to derive from nature. The director soon realized that his music would be able to transform her movie, enhancing its meaning and providing it with a narrative thread.<\/p>\n\n\n\n

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