Sound is never invisible
When we think of sound, we think of something invisible, intangible, immaterial; yet it is nothing but mechanical vibration, oscillation on an atomic scale. It is, essentially, movement. But without interacting with matter “other” than itself, sound, like the human being, would not exist.
Interaction is the key in Sound Greenfall, the project by architect, researcher, and sound artist Sofia Boarino (aka LOTO), presented in May at the Biennale di Venezia 2025. Rooted in bioacoustics, it explores the effects of specific sound frequencies on plant biology and human neurophysiology. A path of metal sheets driven into the ground, a seat between them, and flourishing nature all around are designed to resonate and generate cascades of beneficial sound waves that permeate the soil and the atmosphere. Immersed in these acoustics, the human body and the plant become the medium that carries the sound and, by absorbing its vibrations, change themselves, transforming something seemingly invisible into something much more than physical.
Starting from these concepts, I saw the bodies of two lovers in my mind, still as dry trees firmly rooted in the ground; even the wind was unable to bend them. Yet, suddenly, they are crossed by sound waves, and a new sap, vital and nourishing, starts to flow inside their figures. Through delicate and increasingly softer touches, the two plants seek one another, each in need of the other. They help mutually rise from the earth, exhuming their deep roots and gaining mobility for the first time. Their interactions intensify. They dance on this vibrating sound, and they seem to grow restless with the ground beneath them, craving to rise into the air, higher and higher, coveting an ethereal realm. But what they seek is not in the sky; it is right there, on the earth, in the midst of surrounding nature, which draws them toward each other. Their love, finally free and flourishing, is right in front of their eyes.
It has become visible.
The film begins with a very calm rhythm, gradually escalating as the interactions between the two bodies increase. The handheld camera becomes essential to convey the growing dynamism of their communication, and to do this effectively, it was crucial to switch to the X-H2S. The fast and responsive sensor exhibits very little rolling shutter, even when operating without external stabilizers. Of course, some attention is needed while walking to achieve a stable shot, but overall, it is more than acceptable. Moreover, shooting in ProRes at 10-bit 4:2:2 allows for a more faithful rendering of tones, textures, and color nuances. Personally, I love Fujifilm colors, but the digital image it produces (like any other mirrorless on the market) tends to be too defined and sharp for my taste. In photography, this doesn’t bother me too much; moreover, the internal grain helps tone it down nicely. In video, it’s different; applying grain isn’t enough to solve the issue; a separate thought process is needed from that of photography.
What I seek is a dialogue with the cinematic image, a character that can help me tell the story I want, one that has a particular feel and resonates with my inner self. In a world of perfectionists, I seek imperfection. I am hungry for those small inaccuracies that make a human truly human. This vision of mine inevitably spills over into the aesthetics of my films. For this reason, I always prefer to use lenses with an imperfect look, such as vintage lenses or modern lenses with interesting characteristics, like the TTArtisan lenses I used for this project. I reject definition, abhor sharpness, in favor of a more empathetic softness, a slight vignette that pulls you deeper into the frame, a small perspective distortion that accentuates a microexpression, or a physiognomic feature, letting you delve into emotions. In the end, it’s only through imperfection that we profoundly connect with reality.
Born in 1993, Edoardo Sandulli is an Italian director and author whose journey in the world of filmmaking began after he graduated in Design and Communication from Politecnico di Milano. A self-taught filmmaker, his works are a testament to his profound interest in people and their lives. His narratives are always imbued with a distinctive visual aesthetic that is both meticulous and sensitive. His diverse body of work, which includes music videos, short films, and commercials, consistently focuses on human stories and authentic emotions. Through his lens, he seeks to connect with his audience on a deeply personal level, making each project a reflection of the shared human experience.
