1. Interview for Tokafi.com (2012)

    15 Questions to Alexei De Bronhe

    flag   March 15th 2012, by Tobias Fischer 

    Alexei De Bronhe is something of a 21st Century Renaissance Artist. The Minsk-born filmmaker, musician, sound/video producer, and visual artist is finishing a degree in television and film directing at the Belarusian Academy of Arts, fronts the abrasive electropunk band Energy, and releases tranquil, atmospheric electronic music that walks the line between composed and improvised “ambient” music. It’s no surprise, given his extensive work with film that De Bronhe’s live performances are multi-media feasts of projections and emotive, hazy electroacoustics as suited for art galleries as they are for clubs and experimental warehouse venues. The multimedia artist discusses the pluses of oversaturation in the digital era of music, the influences of Cage and Stockhausen on his work, and audio-visual presentations as “tangible”art. 

    Hi! How are you? Where are you?
    It will seem strange, but I’m in a cellar in the depressive city of M. where they activate a cutout switch that sucks the energy out of people.

    What’s on your schedule right now?
    I am rehearsing with our electropunk band Energy. Going to edit my documentary called STO 24. Create samples for a scratch battle organized by our clan. These tracks will also be included in the rap-musical Romeo and Juliette.

    How would you describe and rate the music scene of the city you are currently living in?
    Let’s take a 10 points scale. Then it’s 3 - 8 = - 5. Well, there are exceptions, but they are few and far in between.

    When did you start writing/producing music - and what or who were your early passions and influences?
    I was fifteen and I started using an old tape reel recorder and 8-bit toy synthesizer. I was seriously influenced by the distorted music of the super-duper Russian pop-band Ivanushki International on a jammed tape.

    What do you personally consider to be the incisive moments in your artistic work and/or career?
    When I was three, I learned how to put the tape into the tape reel recorder and yelled Modern Talking songs into the mic.
    When I was twelve I was drawing my own money and that influenced our home economy.
    I was about eighteen when I first heard Bach and started playing contra bass in the symphony orchestra.
    Finally, at the age of nineteen, I shot my first film – it was complete and utter trash!

    What are currently your main compositional- and production-challenges?

    Read More


  2. Interview for Tokafi.com 2012 ru

    Alexei De Bronhe 15 вопросов.

    Главный редактор немецкого журнала Tokafi Tobias Fischer задал 15 вопросов беларусскому музыканту и видео продюсеру Alexei De Bronhe. Алексей рассказал о плюсах и минусах перенасыщения в эпоху цифровой музыки, а также об аудио-визуальной презентации, как нового способа коммуникации.


    Привет, как дела, где ты сейчас находишься?
    Это очень странно… Я в подвале в депрессивном городе на букву «М», где включают рубильник высасывания энергии из людей.

    Read More


  3. One Short Film Fest:The Winner

    of Best Feature Film: “Irrelative” by Alexei De Bronhe.

    RU. One Short Film Fest II (2012): Победитель в номинации лучший игровой фильм: “Irrelative” (Не относящийся) Alexei De Bronhe. Фильмы-победители поедут на международные фестивали: Манхэттенский фестиваль (NY, USA), Kurzfilmtage Winterthur (Цюрих, Швейцария),…

    Read More


  4. Interview for ”Cologne 7th Fest”


    Alexei DeBronhe
    Belarussian videomaker


    Interview: 10 questions

    3. What kind of subjects have your films?

    I can’t predict what I’d create. I feel that I’m developing and searching constantly, I’m madly curious and attentive to the details, Sometimes it bothers. Topics are varied – social and philosophic. At times experimental or horrors. Feature and documental. Might be even action thrillers. Whether a movie would be superb or a failure doesn’t depend on a genre. All genres are cool, what really matters is a director and a film itself. My latest work deals with the philosophy of space, its hidden energy and sacrality, that I feel with my heart, my soul and some other senses. This is a new genre of the documental cinema, which I created and explained theoretically. I call it CiNEMALISM.

    4. How do you develop your films, do you follow certain principles, styles etc?

    I always say that creating a film is a many-sided complex process and the result can be alike. 

    Adapting literary piece is one of the ways, but I believe that too much “bookishness” can make the film lack the air. Often the scriptwriters create a terrific story but they may not feel the movie principles and peculiarities, they remain just writers, not scriptwriters. The script should live naturally but only on papers but at the film set. You should always follow the right proportion, because cinema is a complex art, a fusion, you should never forget about the perceptive, emotional part of it. I brood my films, nurture them, feel them, search for their emotional key. When I have the luck to find it, it starts living its own life. >From now on you can’t predict anything. It grows by itself and all you can do is only guide it and direct it. I’m always excited and scared by all the stages of film creating at the same time. They influence each other and blending different proportions of it, you can get an unexpected result…

    Read More

    (Source: vip.newmediafest.org)


  5. A. De Bronhe EP on INQ-MAG



    …”From Original Motion Picture Soundtrack ”Dance,Dance,Dance” film by Natali Fi

    An experimental art film inspired by a Haruki Murakami novel of the same name. Without needless words or color. A short work put into a minimalistic black and white form.”…



    Rabota = Robot
    Pechal + 5 Birds in Cloud Soft + Biser Train
    Translucence of the Moon
    Dance Dance Dance Salman Rushdie!



  6. Interview De Bronhe for 34mag!

    English Version. Supa-Dupa Interview Alexei De Bronhe for 34mag.net [оригинал на беларуском]! (2011) 


    Read ENG Version :

    Alexei De Bronhe

     Alexei De Bronhe is the type of naturally giften person promoting underground indie filmmaking who embodies the perfect sense of the word “ action”. It’s inpossible to follow all his trendily defined activities. So far, being a 26-year old, he has already founded two labels – videolabel Byzond Pictures and a music one called Byzond records, created a music band Energy, gave birth to the new film genre “Cinemalism”, won several prizes for his short films and is already planning 3D arthouse cinema. 


    But what is most important while dealing with him is to manage to separate the wheat from the chaff. 

    Juniors cinemalism

     The twilight of the houser neighbouring the building of the Seventh Day AdventistsChurch is suddenly full of the soviet synthesizers and the sound of the electropunk, smashing the ears away. Alexei meets me in the sexy jeans shorts, makes me seat down on the chair before the screen and switches on “cinemalism”, the new genre he has created. According to the filmmaker cinemalism is something like the cinematic examination of the space with the deliberate avoiding of dramaturgy or symbolism. The image, living it own life.

     Lesha says that he’s already tired of explaining the meaning of cinemalism which made him shoot a short video after watching which all the questions regarding the novelty of the genre will vanish.


    Shooting for people is nonsense. That’s what I learned from Lesha when he phoned me something after 1 a.m. asking whether his pictures should be coloured or black and white. The artist shoots for himself and it’s the only chance for the work to find its audience. If we take cinemalism for instance, it is filled with DeBronhe’s souls and it’s the soul that bewitches you, not the plot line or storyboard. DeBronhe’s soul is also in the titles, that usually take one third of his film length. It’s not clear whether he is a perfectionist or a maniac, but he was preparing the exclusive sample of the Cinemalism #3 Lake of Mars for 34mag for about three days. He had to chose the only one right font among thousands and upload the sample to the Vimeo according to feng shui. In fact, he’s not rushing to put the new genre on the web. This is his strategy – the audience should attend the screenings. So, it’s only 34mag’s channel where you can watch a tine bit of it. Watch it and die.

    Alexei says he breathes with music and lives with cinema. He was saving to buy a drummachine that now accompanies him at his live performances, for about 5 years. He was setting apart his scholarships, no beer with friends. He was looking at the picture in the catalogue for five years and when he finally got it, he knew how to play it. The dream of shooting his own film was nurtured for 20 years, until he finally made his first short film.

    Lesha is only happy when this two kinds of art blend in one in his audiovisual salad. That’s why he sounds over his own and borrowed films on his soviet synthesizers, carefully gathered from various Belarusian post-soviet community centers. Look at this completely happy artist. And maybe you’ll se he’s streaming myrrh. 

    If following your dream for 20 years doesn’t mean action for you, than post your “-1” in comments, get 43 “likes” and enjoy your own action of this page. Alexei doesn’t care. He’s already in some other galaxy.


    Pearl thoughts by Alexei De Bronhe :

    • I grew up watching blockbusters like Rambo, Robocop.
    • I rewatch Revolver every week I guess, once a month is for sure.
    • I watched Fight Club 200 times. Not less.
    • There was a period when I watched it every day.
    • I know the script by heart and each line can be used in everyday life.
    • I’ve got a package upstairs… It contains cartoons. I was drawing it since I was eight.
    • Together with my brother we had a game – a chain of cinemas with the money we also drew by ourselves. I “screened” my cartoons and voiced them over. And this bastard was pirating! He stole and looked at the cartoons before I even fully painted them. So he never visited no opening night.

     ”Filmmaker is a kind of elite artistic occupation that contains the whole mindset. He has to know a lot and understand even more. He even doesn’t have to shoot. He need and concept, description, hermeneutics. I didn’t shoot my film “Belarusization”. My brother captured a video of a toy train from several angles. And I grasped some sense in it. That’s how it appeared… “

    "The author has to decode his art, this is his aim. And this is the mission of each and every artist, because in the beginning you are not able to decode all the symbols by yourself. Your semantic stock is just not enough."

    " Ideally, I’d like to shoot 3D cinema. Arthouse will make a great breakthrough when it switches to the 3D technology. Can you imagine this revolution? It will bring the esthetic development of the whole mankind. Average people will powerlevel their intelligence although at first they will perceive it as an entertainment."

    "Cinema is my enemy. We all have to follow its formats. Your film ahs to be up to 2 hours, full length – about an hour and a half. I don’t give a fuck! The cinemas should be more democratic. They should also become indie."


    "For me the titles are one of the artistic elements in the film. If they are not perfect, it may just kill the final of the film. It’s annoying that people don’t watch the titles. I mean, this is the sort of respect to all the people that took part in the creation of the film. And it’s also the moment of reflection, the means of making the mood, unfold some implication of the film. I always sit in the cinema till the end of the subtitles and those dudes switch on the lights."

    "Hollywood is dead, rotten and is moving mechanically. Hollywood movies are like a grapefruit and here we get a banana altogether with the terrific awesome apple full of vitamin C. It all is wrapped in a leakfree super package made on the best super equipment, sprayed with super oils that make you even more cool – such a super-duper commercial stuff!."

    "You may become some nomadic outcasts. That how many Europeans act. Corey McAbbey that held a master-class there is a living image of me in future. He shot his own film “American  Astronaut”, played a role in it, and the soundtrack was created by his band. What’s more, he never released it, he’s travelling and showing it all around the world for about 10 years already. I believe Belarusians should do the same, travel, screen and tell about our. "

    • "When they built the library I wanted to destroy it. I hate it from the bottom of my heart, but it’s the kind of “hatred-love”. My dream is to blow up its basement and let the building roll along the avenue up to the church and smashed Lenin’s monument. It could be turned into a fantastic motion-design by the way…"

    I’m fully aware that I need at least 10 years more to shoot something serious and worthy.”

    Alex’s projects:

    • Films
    • Music
    • Film Label Byzond Pictures
    • Music label Byzond Records
    • Energy
    • Grave Board-Clan
    • Audiovisual Lives



  7. Farfrommoscow.com Review ———————————————— on A. De Bronhe & his last EP


    At this point we turn to neighboring lands. Alexei De Bronhe is a musician and filmmaker from Minsk: he has just published seven wispy instrumentals through the Belarusian label Foundamental. They are designed as the soundtrack to a “short, minimalist, B&W feature” called “Dance, Dance, Dance.” Both that film and these fragile sounds from De Bronhe aim to operate “without needless words or color.” Understatement - again bolstered by lo-fi imagery - is offered as a fitting response to contemporary experience…

    Read More


  8. Belarusian shorts: shoot for people or for yourself?


  9. A.De Bronhe: Interview

    for journal “BIG” read

    В свеженьком отпечатанном номере журнала “БОЛЬШОЙ” можно лицезреть статью об Алексее Де Бронхе.
    web version 


    Режиссер Алекс Де Бронхе: «У меня до сих пор постер «Рембо» на стене висит»

    Я шла на по­каз «Ожив­ший ви­де­оарт», что­бы по­об­щать­ся с минс­ким ре­жис­се­ром Алек­се­ем, а поз­на­коми­лась с му­зыкан­том, та­пером, ди­зай­не­ром, соз­да­телем собс­твен­но­го жан­ра ci­nema­lism, вла­дель­цем лэй­блов By­zond Pic­tu­res и By­zond Re­cords, ак­ти­вис­том скан­даль­ной ту­сов­ки Gra­ve Bo­ard-Clan Alex’om De Bron­he…

    На эк­ра­не — рит­мичный мон­таж, чей бе­шеный ритм по­мога­ет ощу­тить Ле­ша, пе­рек­лю­ча­ясь от од­но­го син­те­зато­ра к дру­гому, при этом оз­ву­чивая в мик­ро­фон фраг­менты филь­ма. Пос­ле кон­церта то и де­ло в за­ле раз­да­ют­ся вос­торжен­ные отк­ли­ки.

    — Кон­церт удал­ся, пуб­ли­ка в вос­торге! — улы­ба­юсь я Ле­ше.
    — Да, толь­ко над пер­вым се­том еще мно­го ра­боты. Мы с Юлей (Ju­lia Ko­vi­asi­na ру­ково­дила ви­део-по­током — прим.авт.) еще не до кон­ца чувс­тву­ем друг дру­га.

    Alex De Bronhe

    — В те­бе яв­но есть склон­ность к пер­фекци­ониз­му. А дав­но ты во­об­ще ув­лекся та­перс­ким ис­кусс­твом?
    — В прош­лом го­ду, ког­да к нам при­ез­жал из­вест­ный пи­терс­кий та­пер Ар­се­ний Тро­фим. Я тог­да вы­шел с по­каза прос­то оше­лом­ленный, по­нял, что мне снес­ло кры­шу, слов прос­то нет, это бы­ло так… — Ле­ша пы­та­ет­ся ми­микой вы­разить то, че­му не по­доб­рал сло­ва. — Я уви­дел воп­ло­щение идеи, о ко­торой сам за­думы­вал­ся не­од­нократ­но. С тех пор и зак­ру­тилось. Прав­да, та­перс­кое ис­кусс­тво сей­час му­тиру­ет, его нель­зя уже так од­нознач­но восп­ри­нимать, как в го­ды не­мого ки­но.
    Сей­час это все боль­ше аудио-ви­зу­аль­ное ис­кусс­тво. А для ме­ня это еще и ра­бота на сты­ке двух мо­их лю­бимых страс­тей: ки­но и му­зыки.

    Alex De Bronhe

    — С че­го все на­чалось? Муль­ти­ки, стра­шил­ки?
    — Стра­шил­ки — да, пом­ню, да­же ри­совал про­дол­же­ние нес­коль­ких се­рий «Ба­ек из скле­па». А во­об­ще, с детс­тва, как лю­бой маль­чиш­ка, фа­нател от бо­еви­ков со Стал­ло­не, Швар­це­нег­ге­ром и Ван Дам­мом. У ме­ня до сих пор пос­тер «Рем­бо» на сте­не ви­сит. По­том на­чал кол­лекци­они­ровать филь­мы ужа­сов. Ду­мал, на этом все, но отк­рыл для се­бя мир ин­те­рес­но­го ки­но, в ря­дах ко­торо­го «Чис­ло Пи» Ара­нофф­ски или «Mo­men­to» Но­лана, а еще кру­тая «Бой­цо­вая рыб­ка» Коп­по­лы.

    — По­луча­ет­ся, спер­ва ты ув­лекся ки­нема­тог­ра­фом?
    — В дей­стви­тель­нос­ти для ме­ня ми­ры ки­но и му­зыки всег­да шли па­рал­лель­но. Я сам на­чинал в детс­тве с ри­сова­ния ко­мик­сов, а ведь ко­микс сам по се­бе — поч­ти рас­кадров­ка. По­том мы с млад­шим бра­том де­лали ма­лень­кие филь­мы с учас­ти­ем иг­ру­шек по мо­ему сце­нарию. Прав­да, ему всег­да дос­та­вались ро­ли зло­де­ев, что он счи­тал во­пи­ющей несп­ра­вед­ли­востью, но го­рячо не про­тес­то­вал. Во вре­мя этих сво­еоб­разных се­ан­сов я прок­ру­чивал в го­лове мас­су ме­лодий, поч­ти са­унд­тре­ков, оз­ву­чивал про­ис­хо­дящее а-ля «Пиф-паф! Пиу-пиу!» — и ри­совал тит­ры. Кста­ти, с то­го вре­мени на­чалась моя лю­бовь к шриф­тогра­фии. В сво­ем пос­леднем ко­мик­се я во­об­ще заг­нался по тит­рам, в ре­зуль­та­те нап­ри­думы­вал 20 стра­ниц имен ак­те­ров, опе­рато­ров и про­чих.

    Alex De Bronhe

    — Ка­кое из ув­ле­чений одоб­ри­ли ро­дите­ли?
    — Ну, учить­ся ме­ня от­да­ли в му­зыкаль­ную шко­лу, прав­да, за­гибать­ся над нот­ной гра­мотой для та­кого, как я, бы­ло не­ре­аль­но. Из-за этой не­усид­чи­вос­ти ме­ня да­же на хо­ре пос­то­ян­но ста­вили в пос­ледний ряд. К кон­цу го­да мое по­веде­ние так вы­вело класс­ную, что она поз­ва­ла ро­дите­лей по­гово­рить об от­числе­нии. И вот она кар­ти­на: с ма­мой об­сужда­ет­ся воп­рос мо­его от­числе­ния, и тут я са­жусь за фор­те­пи­ано, о чем меч­тал весь год, и на­чинаю что-то иг­рать. Ма­ма так изум­ленно обо­рачи­ва­ет­ся, а я ей: «Мам! Смот­ри, класс?!». Так что слу­хом я ода­рен с детс­тва, а вот му­зыкаль­ную гра­моту ос­во­ил уже по не­об­хо­димос­ти, ког­да приш­лось в кол­ледже Ах­ремчи­ка на­гонять 9 лет, тог­да и соль­фед­жио вы­учил. С тру­дом…

    — Да, за­мети­ла у те­бя нот­ный лист на син­те­зато­ре…
    — Ха, вот так все и ду­ма­ют, мол, но­ты. Ан нет, это — пон­ты. Я на этом лис­те прос­то рас­пи­сываю слож­ные ком­би­нации пе­рек­лю­чения, ведь зву­ков мно­го, ра­ботаю на трех ап­па­ратах сра­зу.

    — То-то смот­рю, что энер­гия в те­бе бе­шеная…
    — В шко­ле ро­дите­ли то­же так по­дума­ли и от­да­ли ме­ня в хо­ре­ог­ра­фичес­кий класс, что­бы хоть там выб­ра­сывал всю энер­гию, а то на му­зыке усид­чи­вость нуж­на, а я, как мо­тор. Тан­цы пош­ли мне на поль­зу, по­мог­ли глуб­же осоз­нать такт, ритм, стать бо­лее плас­тичным, на­учить­ся дви­гать­ся… За школь­ные го­ды я сме­нил столь­ко школ и клас­сов, что уже сбил­ся со сче­та.

    Alex De Bronhe

    — За­то сей­час осел в БГАИ. Кста­ти, как те­бе уче­ба в Ака­демии?
    — Мое мне­ние на этот счет подт­вер­жда­ют не­кото­рые пре­пода­вате­ли Ака­демии, мол, иног­да ре­жис­серс­кое об­ра­зова­ние вов­се не обя­затель­но, что­бы стать мас­те­ром. Хо­тя очень важ­ны в этом про­цес­се ат­мосфе­ра и об­ще­ние с твор­чески­ми людь­ми, а так­же с та­лант­ли­выми пе­даго­гами. Я отк­ры­ваю для се­бя что-то но­вое пос­то­ян­но. Сей­час уже бо­лее чет­ко по­нимаю, как бу­ду за­нимать­ся ки­но даль­ше, вот но­вый фильм «Ir­re­lati­ve» по­пал на фес­ти­валь в Пи­тер.

    — Ну, а че­рез лет 20 кем се­бя ви­дишь: ре­жис­се­ром, му­зыкан­том — или бу­дешь, как Кус­ту­рица — и там, и там ус­пе­вать?
    — Иде­аль­но мне сей­час это предс­тав­ля­ет­ся так: се­год­ня я иг­раю офи­гитель­ный кон­церт со сво­ей груп­пой Ener­gy, завт­ра еду на Канн­ский ки­нофес­ти­валь по­казать но­вый фильм и вы­пить по ста­кан­чи­ку с Та­ран­ти­но, по­том сно­ва на кон­церт. Ну, а восс­та­новить энер­гию мож­но и в де­рев­не ка­кой. Так что бу­ду ста­рать­ся и даль­ше ра­ботать в двух сво­их ми­рах — му­зыкаль­ном и ки­нема­тог­ра­фичес­ком. Кста­ти, как раз сей­час у ме­ня ре­пети­ция.

    Учас­тие и наг­ра­ды в ки­но и ауди­ови­зу­аль­ных фес­ти­валях:

    2009 — «Nos’bit» (спе­ци­аль­ный приз на Ki­novar­ka film fes­ti­val)
    2009 — «Be­laru­siza­ti­on», (участ­ник«Bang Shorts Film Fes­ti­val» (Анг­лия, 2010))
    2010 — «Sor­ry, I don’t he­ar you drum­ma­chine»: 30th Ру­мынс­кий меж­ду­народ­ный ки­нофес­ти­валь «Autumn in Vo­ronet» — Дип­лом за ре­жис­серс­кую и опе­раторс­кую ра­боту
    2010 — участ­ник Bang Shorts Film Fes­ti­val (Анг­лия)
    2010 — Ki­navar­ka Film Fes­ti­val (Бе­ларусь)
    2010 — Gol­den Clap­per Award for Best Di­rec­ting (First Minsk Film­scho­ol 2010)
    2011 – LPM [Li­ve Per­formers Me­eting] (Рим, Ита­лия) — Ale­xei De Bron­he «Audi­oVi­su­al­Li­ve­Act»
    2011 — Par­ti­cipant of Co­log­ne­OFF VII 2011 – Co­log­ne In­terna­ti­onal Vi­de­oart Fes­ti­val, Ger­ma­ny
    2011 — «Ir­re­lat­ri­ve» short film, 15 min, (Par­ti­cipant of “MET­RO­POLIS” St. Pe­ters­burg)
    2011 — «Ir­re­lat­ri­ve» short film, 15 min, (Spe­ci­al Ju­ry Dip­lo­ma of “XX GOL­DEN KNIGHT IN­TERNA­TI­ONAL FILM FES­TI­VAL” Rus­sia)


    Слу­шать: http://so­und­clo­ud.com/ale­xe­ideb­ronhe
    Смот­реть аудио-ви­зу­аль­ные выс­тупле­ния: http://vi­meo.com/ale­xe­ideb­ronhe
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