KTM Japan株式会社は、MV Agustaが、ニコラス・ウィンディング・レフン監督とともに短編映画「Beauty Is Not A Sin 」の制作を発表した。
同映画は、ハリウッドで高い評価を得ているニコラス・ウィンディング・レフン監督が脚本と監督を手がけており、作品にはMV AgustaのSuperveloce 1000 Serie Oroが登場している。また、同映画は第81回ヴェネツィア国際映画祭で初公開された。ティーザームービーなども公開しているため、興味のある方はチェックしてみてはいかがだろうか。
BEAUTY IS NOT A SIN（美は罪ではない）
ニコラス・ウィンディング・レフンとMVアグスタによる短編映画が第81回ヴェネツィア国際映画祭で初公開
誘惑には様々な形や大きさがあり、誘惑に負けることで、私たちはしばしば赦しと許しを切望します。しかし、欲望に打ちひしがれることは必ずしも不道徳なことではありません。時には、美しさに惹かれることを表現しているだけなのです。そして、美は罪ではありません。ニコラス・ウィンディング・レフン監督は、彼の独特のスタイルで、私たちをその旅へと導いてくれます。
MV Agustaは、ハリウッドで高い評価を得ているニコラス・ウィンディング・レフンが脚本と監督を手がけたショートムービー 「Beauty Is Not A Sin 」の制作を発表します。
Superveloce 1000 Serie Oroは、その緻密なクラフトマンシップ、大胆で挑発的なデザイン、圧倒的な美しさとスリリングなパフォーマンスにより、モーターサイクリストの深い欲求に火をつけるモーターサイクルです。
添付のリリースはヴェネツィア国際映画祭が配信したBEAUTY IS NOT A SINに関するものです。英文となりますが、ショートムービーの内容やニコラス・ウィンディング・レフン監督へのインタビュー、経歴などが記載されていますので、BEAUTY IS NOT A SINのティーザームービーと併せてご覧ください。
BEAUTY IS NOT A SIN
Wri&en and directed by Nicolas Winding Refn
Produced by: Art + Vibes for MV Agusta
With Laura Grassi, Stefano Gaeta
Italy, Denmark 2024 | 8 minutes
Venice Film Fes+val Screening Schedule
World Premiere: Saturday, August 31st – 2.30pm at Sala Corinto
Addi+onal screening: Sunday, September 1st – 2.30pm at Astra 1
Synopsis
Tempta’on comes in many shapes and sizes, and giving in to tempta’on o5en lets us crave forgiveness
and absolu’on. But being overcome by desire isn’t necessarily immoral. Some’mes, it just expresses
our aArac’on to beauty. And Beauty is not a Sin. In his inimitable style, Nicolas Winding Refn takes us
along for the ride.
Cast & Crew
Written and directed by Nicolas Winding Refn
With
Laura Grassi (The Sinner)
Stefano Gaeta (The Priest)
Domenica Lo Surdo (The Boyfriend)
Angelica Verri (Model)
Francesca Maria Nonni Marzano (Model)
Maria ViAoria De Giorgio (Precision Driver)
Veronica Braga (The Mother)
Photography Magnus Jønk
Editor MaAhew Newman
Music Julian Winding
Production Design Marcella Galeone
Stylist Amelianna Loiacono
Make-Up Tanja Frisic
Hair Stylist Alessandro Rebecchi
Sound Design Kris’an Eidnes
Colorist Mariam La’f
VXF and Postproduction Welcome Post CPH
Produced by Art + Vibes for MV Agusta
Execu7ve Producers
Max Brun
Chris’na Erritzoe @byNWR
Kimberly Willming @byNWR
Producer Mar’na Vilardo
An interview with Nicolas Winding Refn
Can you tell us more about how BEAUTY IS NOT A SIN came about? Who approached you for the commission, and how did you approach a commissioned work?
I was approached by my good friend Massimiliano Brun (“Max”) who was working together with Agusta to make a “commercial”. They had a conceptual approach that I found very interesting and I did what I always do – gave it the pure by NWR treatment.
What interested you in the short film format? Did you consciously think of it as a genre different from feature-length films, and if so, what – apart from duration – would you see as the biggest differences?
For me, the length of anything I create doesn’t matter nor has it ever mattered. In the age of digitalization, length is only a state of mind. Why can’t an 8-minute short be a feature film experience? I don’t look at narrative in that way. To me, the length of the film has no purpose. It guides itself, it’s how it wants to be created…
You have talked often and movingly on Kenneth Anger’s influence on your work. BEAUTY IS NOT A SIN includes direct visual quotations (e.g. from Kustom Kar Kommandos) as well as more general influences, such as color schemes, the tattoos, not to mention the fetishization of a motor vehicle…
I have always been inspired by the work of Kenneth Anger and have used his inspiration in numerous ways throughout my work. You can, in a way, define how we fetishize luxury and objects because of him – there is always a clear pathway back to Anger and his work.
Your work tends to use dialogue sparingly – what brought you to make what is basically a silent short film in this case? What did that mean in a narrative sense?
I guess using dialogue so sparingly is a reaction to my dyslexia and always having to count on my own instincts and sensibilities. It is what I see or feel first that inspires me. Making BEAUTY IS NOT A SIN into a silent film made it more universal. After all, isn’t that the objective of everything we do, to make things for the entire world to experience?
Your filmmaking is heavily focused on images, on visual style. Did it feel like a natural move to create an iconography for an object, in this case the MV Agusta motorbike?
When working with luxury, there’s a sense of having to utilize the iconography of the object itself. Though, for me, it wasn’t so much the bike I was interested in, it was what the motorbike made me feel. Even though the iconography of the motorbike in general is very beautiful, like a piece of art, it’s how to encapsulate that feeling throughout the entire film.
Although many well-known directors have made commercials, only a few have been generally accepted as art works in their own right (Roy Andersson’s films come to mind, for example). Do you think there’s a dividing line between “pure” and “applied” arts, in filmmaking and in other genres? How do you see BEAUTY IS NOT A SIN in the context of your other works?
I believe art is a reaction of authenticity and purpose. I made BEAUTY IS NOT A SIN because I had a desire to create it. Therefore, it is an authentic NWR creation and an extension of where all my work is moving towards. The universe works in mysterious ways…
How do you feel about the inclusion of BEAUTY IS NOT A SIN in the Venice program?
It’s a great honor to have anything screened at the Venice Film Festival, but what I find most interesting is that a commercial was selected for the first time ever in the official program. It is exciting to be a part of the festival’s evolution, as the floodgates will surely open to new possibilities.
By screening BEAUTY IS NOT A SIN together with my first film, PUSHER, in the Venice Classics, it is a complete NWR experience, a collision of my past and my future.
Director’s Biography
Nicolas Winding Refn (NWR) was born in Copenhagen, Denmark, in 1970. At age eight he moved to New York with his parents where he lived out his teenage years. At 17, NWR moved back to his na’ve Copenhagen to complete his Gymnasium (High School) Educa’on. Upon his school gradua’on, he swi5ly flew back to New York where he aAended the American Academy of Drama’c Arts. However, this educa’on was cut short when NWR threw a desk at a classroom wall and was expelled from the Academy. Consequently, he applied to the Danish Film School and wasreadily accepted. This educa’on too was to be short-lived as one month prior to the start of term he dropped out. A short film NWR had wriAen, directed and starred in was aired on an obscure cable TV channel and lead to the opportunity of a life’me – he was spoAed and offered 3.2 million kroners to turn the short into a feature. At only 24, NWR had wriAen and directed the extremely violent and uncompromising, Pusher (1996). The film became a cult phenomenon and won him instant interna’onal cri’cal acclaim in 1996.
A5er the success of his debut, NWR wrote, produced, and directed his next film, Bleeder. Highly stylized and focused on introverted reac’ons to outward situa’ons, this film was a marking point for the shaping of NWR’s career. Bleeder premiered at the 1999 Venice Interna’onal Film Festival. NWR’s third feature, Fear X (2003) was his first foray into English language films. Starring John Turturro and co-wriAen by Hubert Selby, Jr, Fear X received its world premiere at Sundance Film festival. The film’s stormy career pushed famed journalist Henrik List to write a biography on NWR, spanning his earlier years from Pusher (1996) to Fear X (2003).
Following Fear X, NWR returned to his na’ve Denmark to write, direct and produce Pusher II (2004) and Pusher III (2005), as a result of his first movie’s growing cult following. The subsequent success of Pusher II and III, along with the first, became the interna’onally renowned Pusher Trilogy, premiering at the Toronto Film Fes’val in 2005 and cemen’ng it as a worldwide phenomenon. In 2008, NWR wrote and directed Bronson, an ultra-violent, surreal, escapist film following the real-life landmarks and self-entrapment of Britain’s most notorious criminal, Michael Peterson, who claims his alter ego is legendary actor Charles Bronson. The film premiered at the 2009 Sundance Film Festival.
NWR next wrote, directed and produced Valhalla Rising, starring his long ‘me collaborator, Mads Mikkelsen. Valhalla Rising is a film inspired by a story NWR’s mother read to him when he was young.
The film premiered at the 2009 Venice Film Festival. NWR has already received two life’me achievement awards (one from Taipei Interna’onal Film Festival in 2006 and the second from Valencia Interna’onal Film Festival in 2007) and was the winner of the Emerging Master Award from the Philadelphia Interna’onal Film Festival, 2005. In addi’on to the films NWR has made, he has been the subject of numerous documentaries and books.
Most prominently, he and his wife Liv Corfixen were the subjects of an acclaimed feature documentary, Gambler, which premiered at the RoAerdam Interna’onal Film Festival in 2005. NWR’s film Drive has been the most successful to date. Premiering at the Cannes Film Festival in 2011, it won for Best Director and was a contender for the Palme d’Or. It has been met with universal praise from both audiences and cri’cs alike earning over $100 million worldwide.
In 2013 Only God Forgives was released – a film he wrote, produced, and directed staring Ryan Gosling and Kristin Scoca Thomas. In 2016The Neon Demon starring Elle Fanning and Keanu Reeves. The film competed for the Palme d’Or at the 2016 Cannes Film Festive, marking it as the third Conses’ve film directed by Refn that had competed for the Palme d’Or. In 2019, Nicolas created his first television series Too Old to Die Young (2019) which premiered on Amazon Prime. The ten-episode odyssey was write by Refn and Ed Brubaker. All ten episodes were directed by Refn. The series starred Miles Teller alongside Billy Baldwin and Jena Malone. Episodes four and five of the series premiered out of competition at the 2019 Cannes Film Festival.
Refn followed up Too Old to Die Young with another streaming series, Copenhagen Cowboy (2023),
which was a Netlix produc’on. It was filmed at Refn’s na’ve Copenhagen, and not since Pusher 3 had
he shot a project there. The six episode supernatural noir-thriller first premiered at the Venice Film
Festival in 2022. A5er Copenhagen Cowboy, Nicolas directed a 30 minute short film, Touch of Crude,
which was created for the Prada SS23 women’s collec’on. In addi’on to the film, Refn created an
installa’on for Prada. The film premiered at the León Film Festival in 2023.
Film and Series
2024 The Famous Five, Creator & Executive producer
2023 Travis Scott: Delsesto (Echoes), Director
2022 Copenhagen Cowboy (Tv series), Created by, Writer & Director
2022 Touch of Crude (Short), Writer & Director
2019 Too old To Die Young (Mini series), Creator, Writer, Director & Executive Producer
2016 The Neon Demon, Writer & Director
2013 Only God Forgives, Writer & Director
2011 Drive, Director
2009 Valhalla Rising, Writer & Director
2008 Bronson, Director
2005 Pusher III/ I’m the Angel of Death, Writer & Director
2004 Pusher II/ With Blood on My Hands, Writer, Director & Producer
2003 Fear X, Writer & Director
1999 Bleeder,Writer, Director & Producer
1996 Pusher, Writer & Director
MV AGUSTA
MV Agusta, True Art
MV Agusta represents the highest expression of motorcycle excellence, embodying the essence of Italian exquisite creativity, engineering and craftsmanship. MV Agusta motorcycles are not just vehicles, they are, in fact, a lot more than the simple sum of their features and benefits. MV Agusta motorcycles are meticulously crafted works of art, each reflecting the commitment to perfection, harmonious beauty and performance, that is deeply ingrained in the Italian culture.
Superior Craftsmanship
Superior Craftsmanship is one of MV Agusta’s core values. Every motorcycle is a testament to the skills and passion of the brand’s artisans who pour their heart and soul into the creation process, which begins with the senses: each motorcycle, must deliver emotion through its acoustic experience, through the tactile feelings triggered by its surfaces, its materials, its curves. Every MV Agusta motorcycle should be a visual masterpiece, with each angle worthy of display in a modern art museum.
Attention to Detail
MV Agusta’s commitment to detail is unparalleled. Every single component is chosen to be not only functional but also a precious element of a work of art.
The choice of materials reflects the brand’s obsession with perfection, and such choices create a composition of patterns, colours and surfaces that make each MV Agusta comparable to a great master’s painting that never ceases to amaze and inspire.
Aesthetic Pleasure
Constant research for aesthetic pleasure drives MV Agusta to push the boundaries of motorcycle design continually. Each motorcycle seamlessly blends smooth curves with sharp elements. The colours are designed to create different shades and reflections depending on the light and viewing angle, mesmerising anyone who looks at them. Like true art, MV Agusta designers’ constant goal is to amaze, to constantly create motorcycles capable of triggering desire in anyone laying their eyes on them.
Truly Made in Italy
Just as works of art cannot be created away from the artists themselves, so the creation of MV Agusta does not take place anywhere else than the Italian production facility where the world’s best motorcycle artists hand-build every single MV Agusta motorcycle seen around the globe.
Superveloce 1000 Serie Oro
The Superveloce 1000 Serie Oro embodies all the core values of MV Agusta. This model represents the highest expression of meticulous craftsmanship, bold and provocative design choices, stunning beauty, thrilling performance, and cutting-edge technology. It is a motorcycle that fulfils every motorcyclist’s deepest desires
リリース提供元：KTM Japan株式会社
