Salomé Lubczanski
Film Sound

Film Sound

We The Sponges (2023)

Considered as a chemical molecule or as a phenomenological concept, water blurs the boundaries of our human body and its relation to other planetary elements. Our porous selves are anchored in a vast wet universe in constant exchange with our surroundings, redefning the notion of embodiment itself.
Drawing on hydrofeminist theories, We The Sponges highlights the interconnectedness and fexible nature of spaces, times, and living entities. The audience is invited to follow the cyclic journey of water and tune into their own watery universes, from the microcosm to the planetary scale.

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No Profit (2023)

Many German right-wing politicians still question the right to unemployment benefits, especially within the CDU1. They advocate for reducing or abolishing them completely. In their opinion, receiving compensation while being jobless is lazy and unfair to active workers, and prefers to promote instead the principle that « Those who can work must work. »2

This reducing view not only reminds of the infamous Arbeit macht frei (“Work sets you free”) – a slogan used above the entrance of Nazi concentration camps – it also ignores the amount of unpaid labour to face bureaucracy. Navigating the administration in Germany can feel like an obstacle course with never-ending paperwork hurdles. The large volume of forms to fill out requires a relentless cycle of submission and resubmission in a pure waste of time. Its impact on individuals subjected to it and the psychological toll of bureaucratic overload is invisible and never considered. The maze of paperwork makes it more difficult for people and families in need to access assistance, adding another layer to an already complicated situation. No Profit illustrates the frustration and powerlessness experienced by navigating the German unemployment benefit system (Bürgelgeld). Through the display of the needed paperwork, the piece highlights the sheer volume of documents needed, drowning the individuals in a system that seems designed to test one’s patience and perseverance.

The Universe In My Body (2022)

The Universe In My Body is an experimental short film meant to be shown as a looping audiovisual installation. In an infinite introspection, it questions anthropocentric views and the concept of unlimited time.
While the film utilizes unlicensed footage sourced from the internet, I opted to record exclusively body-produced for the soundtrack body sounds to create organic textures.
Additionally, I sought to highlight the blurred boundary between interior and exterior. Sounds like hair rustles and breaths were captured with a condenser microphone, while internal sounds such as heartbeats and digestive noises were recorded using a shotgun and a contact microphone, swallowed for a unique perspective.

The Receiver (2021)

The Receiver is a queer experimental film exploring the power dynamics inherent in the filmmaker-performer relationship. Agreed upon, Salty Chéri arranged three blind dates for Manon Praline, leaving her completely in the dark about her partners and the unfolding events. Can intimacy spontaneously arise? The viewers follow the journey of the performer, questioning preconceived notions of surrender and voyeurism to dive into the unknown territories of expectation-free encounters.

You can watch The Receiver on Pink Label

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Shattered (2019)

How Many queer people do you need to change a lightbulb? Shattered depicts a very special shibari session between Caritia and Manon Praline. Shot as a post-pornographic film, it focuses on the exploration of power dynamics and intimacy. As the ceiling of the room slowly disintegrates, its fallen lightbulbs create a constantly shifting floor surface, on which both of the players evolve in a delicate balance of danger and safety. Ropes become a suspended refuge—a place where the unpredictability of life is embraced rather than feared. Shattered questions perceptions of safety and control and invite the viewers to immerse themselves in a sensory experience between vulnerability and liberation.

You can find watch Shattered on Pink Label

Take Me like The Sea (2016)

Take Me Like The Sea joins classical music and queer pornography together, two fields a priori in contrast.

Directly stemming from post-pornography, queer pornography shakes the representations of sexualities, bodies and dynamics. It is accessible without previous knowledge, and it is political: we need social and anti-discriminatory ethics of work on set and in its representation.

Classical music, on the opposite, is often seen as an intellectual and exclusively western kind of art. Can it be also fun and inclusive? Each of the 7 shorts film is associated to a classical piece it shares a specific theme with.

Take Me Like The Sea won the award of « Best Short Film » at the San Fransisco PFF


Non-exhaustive list of sound occupation for film projects

HotFits (2024) – location sound recording
Input Error 2 (2022) Katy Bit & Iris Glitzer – location sound recording, sound design and mixi
We Are Born Femmes (2022), Lasse Långström – location sound recording
AWID campaign (2022) – location sound recording
Merci Madame Manon (2021), Manon Praline – music, sound design and mixing
Oh My ! (2021), Tom Zümbragel – location sound recording
MaJoie campaign (2021), Silvia Maggi – voice over recording
Volana’s Eclipse (2021), SJ Rahatoka – location sound recording, sound design
Doma (2021), Laura Gönczy – location sound recording

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