Sebastian Cosor, a Romanian animation filmmaker, has created a unique take on Edvard Munch's iconic 1893 expressionist painting The Scream.
(Credit: Nasjonalgalleriet)

Pink Floyd soundtrack bizarre animated film of Edvard Munch painting ‘The Scream’

Sebastian Cosor, a Romanian animation filmmaker, has created a unique take on Edvard Munch’s iconic 1893 expressionist painting The Scream.

Munch, who created four versions The Scream which resulted in two paint editions and two in pastels, once described his inspiration in a diary post: “One evening I was walking along a path, the city was on one side and the fjord below. I felt tired and ill. I stopped and looked out over the fjord—the sun was setting, and the clouds turning blood red,” he wrote.

Munch continued: “I sensed a scream passing through nature; it seemed to me that I heard the scream. I painted this picture, painted the clouds as actual blood. The colour shrieked. This became The Scream.”

The artist continued in the source of inspiration: “I was walking along a path with two friends, the sun was setting, suddenly the sky turned blood red, I paused, feeling exhausted, and leaned on the fence, there was blood and tongues of fire above the blue-black fjord and the city, my friends walked on, and I stood there trembling with anxiety, and I sensed an infinite scream passing through nature.”

Cosor, who set about his intentions of animating Munch’s blood-red clouds, turned to Pink Floyd and the Dark Side of the Moon as his own source of information. Taking the band’s 1973 song ‘The Great Gig in the Sky’, the filmmaker used the iconic track as the backing to his quite bizarre and suitably surreal animated film.

“We wanted to put a girl on there, screaming orgasmically,” Pink Floyd’s David Gilmour recalled of the track and the introduction of vocalist Clare Torry whose voice is pivotal to the animated film. “There’s no lyrics. It’s about dying – have a bit of a sing on that, girl,” Roger Waters later detailed of his instructions to Torry.

The track, which is itself one of the more experimental in Pink Floyd’s extensive back catalogue, has arrived as the perfect match for Munch’s somewhat psychedelic visuals.

“I recognise myself in the central metaphor of this work, which depicts a person who is alienated and crushed by an oppressive, apocalyptic world that the desperately lonely individual cannot stand anymore,” the director said of the film. “Society does not understand him. Conversely, he does not understand society.”

See the clip, below.

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