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Midnight Sister

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Midnight Sister

Paradoxically, there’s really only a fine-haired difference between the satanic lullaby that begins Rosemary’s Baby and the heart-swelling, joyous monotone of Shelley Duvall’s “He Needs Me” from Altman’s Popeye. At a glance, they do seem like polar opposites. But some inter-dimensional Hollywood wormhole connects them if you allow your mind to take it there. It is this very slit in the fabric of The Hollywood Magic Spacetime Continuum that the slinky, mysterious duo know as Midnight Sister is able to travel. Somewhere in the back lots of Burbank, they dimension hop across this fantastic mega-cosm. It’s where Michael Jackson met E.T. It’s how several David Bowies were able to exist seemingly at once. “Canary,” the song that begins Midnight Sister’s debut album Saturn Over Sunset, is a thread stretched through this Hollywood multiverse. Its languid lullaby verses are swept up into discombobulating instrumental tidal waves – all sonorous, analog bloops and bleeps.

But no sooner do you find your bearings with “Canary” than do the lithe piano and cooed vocals of “Leaving You,” a song both punchy and serpentine, deliver you into a nocturnal tableau. We continue into that good, late night with the album’s highlight romp “Blue Cigar.” Curious smoke curls across your face as some terrifying, glamorous woman whisper-sings into your ear over jumpy keys and squawking, oddly charming horns. You can’t quite remember how you ended up here with these questionable characters. But you can’t get out of the booth, not now. It’s too late for you, I’m afraid.

Midnight Sister – the project of intense creatives Juliana Giraffe and Ari Balouzian – is brought to you by the isolating landscape of the San Fernando Valley – its colors, its diners, its lunatics, its neon lights. Both lifelong residents of this storied valley, Giraffe and Balouzian have only become more inspired by the area’s mythology over the years, its two-faced magical wonderland and tragic circus. And Saturn Over Sunset works almost as an album version of Altman’s Shortcuts, each song a character study of the valley’s odd personae.

“The album culminated into what felt like an interesting movie of dramatized characters that were around us for that period of time,” said Giraffe, a filmmaker whose done everything from music video to bizarro art films. “I’d write about people close to me, about friends I’d make living on the streets in Echo Park, about glimpses of people I saw and wish I knew. Everyone comes from somewhere and has a story. That’s a big part of the music we’re trying to get across. Appreciating all types of characters, however strange and off-putting they can be at times, and perhaps glorifying the crevices in life that seem mundane.”

Giraffe, 23, the daughter of an LA disc jockey, was raised almost exclusively on disco and Bowie. Her lyrics and lyrical melodies, informed very much by her film-making background, were composed gazing out from a tiny retail window on Sunset Boulevard. Her Rear Window-like longing allowed her imagination to run wild and cook up the wild narratives that would fill Balouzian’s compositions. Balouzian, 27, is classically trained and already a go-to arranger for odd-pop names like Tobias Jesso Jr. and Alex Izenberg. Midnight Sister represents a first for both of them. It’s Giraffe’s first time writing and performing music. And it’s Balouzian’s first foray into playing true pop music.

“I always feel like I’m a kind of musician that kind of wishes he was a painter or filmmaker,” said Balouzian. “And always want to kind of conjure up some sort of scene in the music I make. So it felt like working on this music and project together we could kind of merge together and create these small scenes of the bigger picture of the film’ of the album. And since it costs so much to make a movie, etc. – it felt like we could just conjure these things up in my apartment or wherever on our own shoestring budget that felt like they really took you in a way to another place.”

Saturn Over Sunset is a shared musical vision of Hollywood’s oddest corners. It is the baroque, eldritch alley you must pass through to fine the speakeasy night of your life. You’ll come out bleary-eyed and the sunrise will be pouring all pink and orange through the smog and palm trees.

Painting The Roses

Saturn Over Sunset

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Mel gibson maligns kamala harris as having “iq of a fence post”; ‘mad max’ star supporting donald trump in tight election, he says, magnet releasing takes u.s. rights to karan kandhari’s cannes directors’ fortnight selection ‘sister midnight’.

By Matt Grobar

Matt Grobar

Senior Film Reporter

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EXCLUSIVE : Magnet Releasing , the genre arm of Magnolia Pictures, has snapped up U.S. rights to Sister Midnight , the debut feature of London-based Indian artist and filmmaker Karan Kandhari . The film, which world premiered in Cannes’ Directors Fortnight and most recently won the award for Best Film in the Next Wave section at Fantastic Fest, will next screen at AFI Fest and release in theaters next spring.

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Watch on deadline.

Explained Kandhari, “I see this film as a jar of unstable plutonium, and I can’t think of a better team of bandits than Magnolia to help launch it into cinemas for unsuspecting audiences.”

Kandhari directed Sister Midnight from his own script, with Alastair Clark, Anna Griffin, and Alan McAlex producing. David Kimbangi and Ben Coren exec produced for Film4, alongside Natascha Wharton and Louise Ortega for BFI. Co-producers are Wendy Griffin, Sean Wheelan, Kristina Börjeson and Rachel Robey, and Interpol frontman Paul Banks provided an original score, which is his first for a feature.

Pic was financed by Film4 and BFI, with National Lottery funding, and co-produced by Filmgate Films and Film i Väst. Suitable Pictures associate produced, with Protagonist Pictures handling worldwide sales.

Among other upcoming projects for Magnet is the Belgian-French thriller Night Call from Michiel Blanchart. SVP of Acquisitions John Von Thaden negotiated Sister Midnight ‘s deal for Magnolia, with Protagonist Pictures’ Head of Sales Lina Marrone repping the filmmakers.

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Painting the Roses

January 29, 2021

Inside the velvet-lined world of Midnight Sister , Juliana Giraffe and Ari Balouzian party like it’s 1972. The Los Angeles nu-disco duo make lush, seductive glam rock informed by their respective fields: Lead vocalist Giraffe is a filmmaker and visual artist, and composer Balouzian writes movie scores. Their visually rich approach draws on a pile of colorful references, among them vaudeville, glitter rock, and Lynchian melodrama. In 2017, they introduced their moody, cabaret-influenced style with Saturn Over Sunset , pairing the record with dramatic self-made music videos . A new album, Painting the Roses , ups the theatrical flair, showcasing their love of layered orchestral pop, ornate disco, and breezy psychedelia. Their muses may be familiar, but Midnight Sister approach them with a fascination that transcends mere imitation.

Midnight Sister are not shy about acknowledging their forebears— Saturn Over Sunset ’s “ Blue Cigar ” namechecked one of their more obvious influences, T. Rex . But their total commitment to disco glitz offers the kind of escape we could all use, and their attention to detail is striking. Over the rose-tinted dancefloor groove of “Sirens,” Giraffe sings about a “midnight disco,” her voice enveloped by the genre’s go-to motifs: hot horns, Chic ’s chucking guitar, and a breath-heavy bridge à la Donna Summer . Giraffe and Balouzian toy with pastiche throughout Painting the Roses , but it’s done with swagger and musical devotion. Their enthusiasm redeems even the cheesiest moments on the record—it’s hard to deny their infatuation with a bygone era of carefree, extravagant nightlife.

Giraffe, the face and conceptual mastermind of the group, often directs and photographs Midnight Sister’s surrealist music videos. A trained cinematographer and graduate of mime school, she brings an off-kilter flamboyance that shapes the duo’s highly referential sound into something more unique. In the visual for “ Foxes ”—a glitter-rock ballad heavily indebted to Marc Bolan—Giraffe emerges from a dingy blue curtain wearing a pearl-encrusted catsuit. Instead of stepping onto a stage, she stalks a drab backlot, perching on dumpsters and posing in front of razor wire, her makeup and hair askew. Part diva, part doomed court jester, Giraffe’s performance is a playful subversion of tacky circus revivalism tropes. Fortunately, Midnight Sister’s music is good enough to justify the pageantry.

Recording an album is a far cheaper way to build a world than making a movie, as Giraffe has noted , and Midnight Sister are certainly proficient in world-building. Their snapshots of Los Angeles’ neon-lit motels , desert drives , and doughnut shops could make even a staunch New Yorker (briefly) acknowledge the city’s appeal. Though L.A. is a character in Midnight Sister’s script, it’s a romanticized, filmic L.A.—filled with vibrant characters and vintage buildings, not strip malls or traffic. Balouzian’s arrangements inspire an even more remote vision of the city; his cinematic strings on “Escalators” and the title track conjure the drama of Old Hollywood film scores, the kind performed in theaters by live orchestras.

Giraffe’s choral arrangements are equally well suited to the silver screen, particularly on “Song for the Trees,” where an operatic chorus arrives as a welcome contrast to the sleepy, LSD-era Beatles sound. Here, as on “Wednesday Baby,” Giraffe dips into a low, wispy Nico register, one of her many vocal guises. Unlike the classically trained Balouzian, Giraffe is a self-taught singer. Her range is playful and wide, and she swaps out voices like shades of lipstick. A screech, a dreamy falsetto, and a macho drawl could all exist within the same song—a satisfying manifestation of Midnight Sister’s shape-shifting, character-driven music.

Painting the Roses , as a phrase, echoes another: “gilding the lily,” the unnecessary adornment of an already beautiful thing. Allegedly, it’s something to be avoided. Midnight Sister, whose music is decked out in brass, Mellotron, Wurlitzer, accordion, and all sorts of other bells and whistles, beg to differ. Their album is a celebration of harmless indulgences: dressing up, going out, getting swept into the drama of a song. In Painting the Roses ’ one-stop discotheque of the mind, more will always be more.

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Midnight Sister

The slinky, mysterious, cinematic music of Midnight Sister is brought to you by the isolating landscape of the San Fernando Valley — its colors, its diners, its lunatics, its neon lights. The duo of Juliana Giraffe and Ari Balouzian, lifelong residents of this storied valley, have only become more inspired by the area’s mythology over the years, it’s two-faced magical wonderland and tragic circus.

Giraffe, 23, daughter of an LA disc jockey, was raised almost exclusively on disco and David Bowie. Her lyrics and lyrical melodies were composed gazing out from a tiny retail window on Sunset Boulevard. Her Rear Window-like longing allowed her imagination to run wild and cook up the wild narratives that would fill Balouzian’s compositions.

Balouzian, 27, classically trained and already a go-to arranger for odd-pop names like Tobias Jesso Jr. and Alex Izenberg, is inspired by the immersive, almost visual language of Stravinsky and Ravel as much as the cinematic jeu d’esprit of Altman’s Brewster McCloud and Paul Thomas Anderson’s Punch Drunk Love. Their shared musical vision of LA is the ominous alley you must enter to have the speakeasy night of your life.

with Midnight Sister

Twin cities ballet presents romeo & juliet: the rock ballet, with live music by mark joseph's dragon attack, matthew logan vasquez, with jacob alan jaeger, bands for the banned ft. dad bod, wbs ( thomas abban & l.a. buckner ) , chutes, and yonder.

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Painting the Roses

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