WIGNACOURT MUSEUM, Rabat, Malta
Restoration of the 1753 Lo Bianco positivo organ
Progress Report No.1, June 2013
Restoration by Robert Buhagiar B.Eng(Hons)
Dismantling
In April 2012, due to ongoing works at Wignacourt Museum, Fr John Azzopardi requested that the organ be removed from the Museum. It was dismantled on site at Wignacourt Museum and taken into storage in our workshop at Zabbar.
The Organ Case
The organ case of this organ is also a precious and historic artefact. It is a baroque case, very rich carved, with a very interesting wood-grain paint decoration all over its outer sides. Due to age as well as to amateur intervention and modification, the case now requires a partial reconstruction, consolidation and restoration. This is not just for its own sake, but this is also a must in order to house the restored organ components in a stable and secure manner. The restoration of such a case is not the competence of the organbuilder but rather that of a qualified wood and decorations restorer. The cost of its restoration therefore is excluded from and additional to the cost of the restoration of the organ. The case will soon be transferred to the workshop of professional wood-restorer James Saliba where it will be restored. This work is expected to be ready by end August 2013.
Examination of the Organ Parts
Once at the workshop the various organ parts were examined and listed. Some parts were confirmed to be not-original, like for example, the keyboard and the bellows. Where non- original parts were found, and where it can be seen that these parts have no historic value, new parts will be reconstructed according to the original style. The most important parts of the organ, the pipes and the windchest, are original and that it why it is worthwhile to restore this organ.
Restoration of pipe-work
This organ has a total of 262 pipes, mostly of metal. The metal pipes, with the exception of the facade pipes, were cleaned and put back in shape and alignment. Each pipe was examined to determine its correct place in the organ (the organ had been dismantled and re-assembled previously by non-professionals). Finally a list of missing pipes was compiled including all the measurements necessary for the reconstruction of these pipes. The order for the construction of these pipes is ready to be placed with an Italian firm which specializes solely in the construction of custom organ pipes (according to the specifications of organbuilders / organ restorers).
The situation with the facade pipes, some of which are damaged with tin-pest which causes the metal structure to turn brittle and crumble away, is still uncertain. There are two options, the pros and cons of which are still being considered. One option is to conserve these pipes in the Museum and reconstruct a new set of facade pipes (an exact copy of the original) to be placed in the restored organ. The other option would be to restore these pipes as best as possible. The advantage of Option 1 is that aestetically and possibly tonally, the result is better. Also, from a conservation point-of-view, there is the advantage that the damaged pipes will not be further worked upon in order to ‘patch’ them up. The advantage of the second option will be that the restored organ will contain more original material, although patched-up. I am slightly more in favour of the first option, since the already damaged and fragile original pipes will be safely stored in the Museum and available to future generations without further intervention from our part.
Windchest
The slider windchest was opened and dismantled into its main components for a comprehensive restoration. These parts were cleaned and all wood parts treated against woodworm. Further work is still to be carried out.
Some photos:
© Robert Buhagiar June 2013
A la Cathédrale Saint Louis des Invalides à Paris
Concert de Joseph Calleja
Le 23 Avril 2013
« Il n’existe aujourd’hui qu’un ténor sur
la scène internationale, qui possède
cette voix de miel et de velours, que
l’on puisse sérieusement comparer à
Pavarotti et Gigli. Il s’agit de Calleja, la
grande voix de Malte… »
– New Yorker
À 35 ans seulement, Joseph Calleja a déjà chanté 28 rôles principaux d’opéra et a joué sur les grandes scènes du monde entier dont le Metropolitan Op¬era de New York, le Covent Garden de Londres et l’Opéra d’État de Vienne.
Artiste de la maison de disque Decca depuis 2003, Calleja a sorti quatre albums solo : Tenor Arias (2004), The Golden Voice (2006), The Maltese Tenor (2011) et Be My Love : un hommage à Mario Lanza (20u2). L’album du ténor maltais s’est classé parmi les meilleures ventes d’albums de musique classique vocale au Royaume-Uni et en Allemagne.
Joseph Calleja a fait ses débuts au Metropolitan Opera en 2006 dans la mise en scène classique du Rigoletto de Verdi par Otto Schenk et, depuis lors, est devenu un pilier de cette maison. La sai-son dernière, Calleja était l’un des trois principaux ténors à interpréter le rôle éponyme dans Faust de Gounod mis en scène par Desmond McAnuff. En 2009, il a joué son premier rôle éponyme dans une nouvelle version des Contes d’Hoffmann mise en scène par Bartlett Sher avec Anna Netrebko dans le rôle d’Antonia.
En 2002-2003, Calleja interprète le rôle du Duc de Mantoue dans l’œuvre de Rigoletto joué à l’Opéra de Covent Garden. Sa carrière s’est poursuivie avec le rôle d’Alfredo dans La Traviata, de Macduff dans Macbeth, et celui de Nicias dans Thaïs de Massen¬et. En 2010, il s’est révélé être un « Adorno passion¬nant » (Financial Times) dans Simon Boccanegra, « volant presque la vedette » (Independent) à Plácido Domingo. En 2012, The Guardian a applaudi l’ex-ceptionnel talent de Calleja pour son interprétation de Rodolfo dans La Bohème. L’Associated Press a, quant à elle, décrit Joseph Calleja comme étant l’un des plus grands ténors lyriques de notre temps.
Calleja était également le soliste du Concert du Prix Nobel qui s’est déroulé à Stockholm en 2011.
En 2005, à la veille de la réunion des chefs de gou¬vernement des pays du Commonwealth, le Prési¬dent maltais, Eddie Fenech Adami, l’a invité à monter sur scène lors d’un concert privé pour la Reine Elizabeth II et le Prince Philip.
Il donne régulièrement des concerts caritatifs devant des dizaines de milliers de personnes dans sa Malte natale. Dionne Warwick et Michael Bolton font partie des nouveaux artistes invités.
Enfin, Joseph Calleja vient d’être nommé « Artiste de l’Année » par Gramaphone, le prestigieux men¬suel britannique consacré à la musique classique. Plus brièvement, on pourra dire que sa voix est un enchantement et que l’idée de reprendre le réper¬toire de Mario Lanza, le très grand ténor américain d’origine italienne, est merveilleuse Né en 1961, François Boulanger a été récompensé de cinq prix du Conservatoire National Supérieur de Musique de Paris. Pianiste et organiste, il s’est par la suite révélé lors de trois grands rendez-vous internationaux dont il a été lauréat : les concours des jeunes chefs d’orchestre de Besançon, et de per¬cussion de Paris et Genève.
Fort de ces succès, il a été invité très jeune à jouer en soliste (percussion, orgue) avec des orches¬tres tels que le nouvel orchestre philharmonique de Radio France, et à diriger de prestigieuses for¬mations telles que l’orchestre de l’Opéra de Paris, l’orchestre national de Lyon, l’orchestre national de Lille, l’orchestre philharmonique de Montpell¬ier, l’orchestre régional d’Auvergne, l’orchestre de la Radio Télévision Luxembourgeoise, l’orchestre Royal d’Oslo, l’orchestre national d’Ukraine, l’or-chestre philharmonique de Moscou, l’Orchestre de Taïwan et les orchestres des conservatoires de Paris, Lyon et Tokyo…
Nommé en 1997, le colonel François Bou¬langer dirige l’orchestre d’harmonie et l’orchestre symphonique lors de leurs multiples prestations, tant en France qu’à l’étranger (Europe, Japon, Corée, Canada, États-Unis, Chine, Singapour…) et s’attache à préserver la tradition musicale française que perpétue dans le monde l’orchestre de la Gar¬de républicaine depuis un siècle et demi. Il a été nommé directeur du Conservatoire de Poissy le 1er février 2009. Il est Chevalier de l’Ordre National du mérite, des Arts et des Lettres, et titulaire des Palmes Académiques.
L’Orchestre de la Garde républicaine, dont l’orig-ine remonte à 1848, est composé de 120 musiciens professionnels issus des Conservatoires Nationaux Supérieurs de Paris et de Lyon.
L’orchestre d’harmonie entreprend en 1872, aux États-Unis le cycle de ses voyages à l’étranger et le succès est immédiat. Depuis, de très nombreuses tournées ont affirmé son prestige dans le monde entier (Europe, Canada, Japon, Chine, Corée, Sin¬gapour, Kazakhstan…).
Dirigé par le colonel François Boulanger, lauréat de concours internationaux et titulaire de cinq prix du Conservatoire National Supérieur de Musique de Paris, l’Orchestre de la Garde Républicaine peut se produire en différentes formations (orchestre d’har-monie, orchestre à cordes, orchestre symphonique, quatuor à cordes), tant pour illustrer des prestations officielles (dîners à l’Élysée, commémorations, soirées de gala), que pour s’intégrer aux saisons mu¬sicales des grandes salles de concerts et des festivals.
L’Orchestre de la Garde républicaine est en mesure d’interpréter tout le répertoire musical classique du XVIIème siècle à nos jours. Certains grands com¬positeurs ont exécuté leurs propres œuvres à la tête de l’orchestre d’harmonie. La Cantate de Camille Saint-Saëns ou le Boléro de Maurice Ravel dirigés par leurs auteurs, quel bel hommage pour cette formation ! Florent Schmitt a même écrit spéciale¬ment Les Dionysiaques.
Sa discographie, initiée au début du XXe siècle, comporte de très nombreux enregistrements, réal¬isés par les différents chefs qui se sont succédés à la tête de cette prestigieuse formation.
Au cours de la saison 2012-2013, l’Orchestre de la Garde républicaine se produira notamment à Paris au Théâtre du Châtelet, au Théâtre des Champs-Elysées, en la Cathédrale St Louis des Invalides, mais également en régions, à la Philharmonie du Luxembourg, et participera à plusieurs festivals : Septembre Musical de l’Orne, des Grands Crûs de Bourgogne, ….
Les Invalides
L’Hôtel des Invalides a été fondé en 1670 par le roi Louis XIV pour y accueillir les vétérans de ses guerres. Aux missions hospitalières et militaires in¬itiales, se sont ajoutées, au fil de siècles, des fonc¬tions mémorielles, patrimoniales, muséales et tour¬istiques.
En son sein, le musée de l’Armée occupe une place importante, à la fois par l’espace occupé mais aussi par sa mission première, celle de transmettre l’his-toire militaire au plus grand nombre. Il présente et conserve une collection prestigieuse constituée de plus de 500 000 œuvres et objets : armures, uni¬formes, pièces d’artillerie, armes, emblèmes, déco¬rations, figures historiques, décorations, tableaux, photographies…. Cette richesse et cette diversité permettent d’offrir aux visiteurs un parcours re-traçant l’histoire militaire de la France, depuis le Moyen–Age jusqu’à nos jours.
En écho à ses collections, le musée de l’Armée développe une politique culturelle active – exposi-tions, animations pédagogiques, conférences, pro¬jections, concerts… C’est dans ce contexte que s’in-scrit la Saison musicale du musée de l’Armée, qui propose une soixantaine de concerts par an, dans la cathédrale Saint-Louis des Invalides ou dans le Grand Salon. Cette Saison s’applique à la mise en valeur des formations musicales militaires en con¬cert, de l’orgue des Invalides, des instruments des musiques d’harmonie (instruments à vent), ainsi qu’à l’exaltation du monument en musique ou en¬core aux commémorations des grandes dates anni-versaires en concert.
L’église Saint-Louis des Invalides
Cet édifice religieux est placé sous la responsabilité du musée de l’Armée.
En 1676, le ministre de la guerre Louvois confie au jeune architecte Jules Hardouin-Mansart (1646¬1708) la construction de l’église que Libéral Bruant n’a su mener à bien. L’architecte conçoit un édifice associant avec cohérence et harmonie une église royale, le “Dôme des Invalides”, et une église des soldats. Ainsi, le roi et ses soldats peuvent simultanément entendre la messe tout en pénétrant dans le lieu du culte par des accès différents comme l’exige l’étiquette. Cette partition se renforce au XIXe s. avec l’édification du tombeau de Napoléon et la création de deux autels distincts puis l’édification d’une verrière entre les deux églises.
L’Eglise des Soldats, s’ouvrant sur la cour d’hon-neur, offre un bel exemple d’architecture classique.
Le buffet d’orgue a été réalisé entre 1679 et 1687 par Germain Pilon, menuisier ordinaire des Bâtiments du Roi.
La corniche de l’église est ornée d’une centaine de trophées pris à l’ennemi, jalonnant l’histoire des armées françaises de 1805 au XXe s. Sous la nef de l’église, l’ancien caveau des gou-verneurs abrite les dépouilles de nombreux grands chefs militaires.
Dédiée à Saint Louis et consacrée à la Sainte Trinité, l’église est rattachée administrativement au musée de l’Armée dès la création de celui-ci en 1905. Elle est aujourd’hui la cathédrale aux armées françaises.
Le Mécénats
I N S T I T U T E FOR MALTES E CULTURE
CENTRAL BANK OF MALTA
MALTA TO U R I S M A U T H O R I T Y
MALTA INTERNATIONAL A I R P O RT PLC
RC I I N S U R A N C E LT D / GROUPE L C I BANQUE
GUTENBERG
AIR MALTA PLC
FRANK SALT R E A L E S TAT E G RO U P
E M D L AW
CHARLES D E G I O RG I O LT D
C O R I N T H I A G RO U P
W H PARTNERS
M E T H ODE E L E C T RO N I C S EUROPE
D F A D V O C AT E S
L E M E R I D I E N S T. J U L I A N S
Restoration Interim Report
Encyclopédie, ou Dictionnaire Raisonné des Sciences, des Arts et des Métiers
June 2013
Work on this project started in June 2012 with the evaluation of the state of conservation of each volume of the Encyclopédie. Although the extent of damage varied between the different volumes, it was concluded that the same restoration process would be applied to all volumes.
To date, 6 volumes have been restored, namely Volumes IV, V, VIII, XIV, XV, and XVII.
The restoration of each volume included checking all the pages to identify any missing ones, removal of the spine and the cover before dismantling the sections of the volume, and removal of the old sewing thread. Following this, all the pages were cleaned, first by removing dust, and then they were washed one by one and placed on racks to dry. The actual restoration of each page was then carried out, both manually and also mechanically by the leaf casting machine, whereby all missing parts of pages were filled with Japanese paper or pulp. Each page was then pressed and folded. Pages pertaining to respective volumes were put in sequence again and they were sewn applying the same method as the original. The back of each volume was then glued and rounded. The lining of each spine was carried out, and the headbands were sewn, again using the same method as the original. Acid-free boards for the covers were prepared, retaining the same size as the original. The restoration of the original covers was then carried out, with the manual replacement of missing parts, using matching leather where necessary, and repairing existing damaged leather. Finally the casing in and all finishing works were carried out.
Attached are a number of photographs showing volumes before and after restoration.
PHOTOGRAPHS
Remise par IMC du Prix MADG pour la Culture et l’Art au film 100% Maltais « SIMSHAR »
Rebecca Cremona’s directorial debut Simshar is the first Maltese Feature film for international markets.
Malta – December 9th, 2013:
Kukumajsa Productions Ltd. Has put forth its first film titled Simshar; inspired by true events, written by Rebecca Cremona and David Grech, and directed by Rebecca Cremona. The project is a precedent for the indigenous film industry, and showcases Malta’s abundant talent as well as its rich culture. This film is as much about the culture and traditions of Maltese people, as it is about the triumph of the will to persevere. Filmmakers await to hear from various festivals.
Press Contact: Leslie Lucey, Producer ‘Simshar’ .
leslielucey@gmail.com Cell 310.804.2732 International Cell 001.310.804.2732
LOGLINE
Inspired by incredible real events, two parallel stories of survival at sea unravel around the Mediterranean island of Malta and culminate tragically when a Maltese fishing family is left stranded in open water, being mistaken for African migrants.
SHORT SYNOPSIS
Simshar tells the story of a Maltese fishing boat, which blows up leaving its crew stranded in open waterÉ
Also in the Mediterranean, a medic is kept hostage on a vessel harbouring rescued African migrants, which Malta and Italy refuse access toÉ
The stories unravel in parallel and culminate tragically when the fishermen are spotted but not rescued, being mistaken for African boat people.
Press Contact: Leslie Lucey, Producer ‘Simshar’ .
leslielucey@gmail.com Cell 310.804.2732 International Cell 001.310.804.2732
WHY SIMSHAR?
When we decided to embark on this journey five years ago we knew that it was going to be almost impossible due to the film’s challenging logistics and the fact that it was a first from a country with no indigenous film industry. But the power of the story fueled us through the challenges.
Simshar is inspired by a real tragedy of a boat of the same name, which went up in flames and left its crew stranded in the Mediterranean Sea. Talking to the only survivor four months after the incident, we discovered the terrible truth – that they were seen but they were not saved; the reason being that they were mistaken for irregular migrants crossing from Africa to Europe. After various research we realized that this was happening all the time, and that the Mediterranean, once known as the Cradle of Civilization, has turned into a Mass Grave.
Unfortunately, today this is not only still happening, but the situation is worse. Thousands of men, women, and children continue to attempt the dangerous illicit crossing, often failing to make it across. In the meantime, countries squabble over who should take responsibility for the rescues, and eventually of any survivors. Blinded by the complexity of the issue we have forgotten that it is people we are dealing with.
Although Simshar is a timeless story about survival, and the related inherent tension between tradition and change; today, it could not be more timely.
Press Contact: Leslie Lucey, Producer ‘Simshar’ .
leslielucey@gmail.com Cell 310.804.2732 International Cell 001.310.804.2732
Theo (11) comes from a traditional Maltese fishing village. He is sent on his first fishing trip – together with his father, grandfather and a Malian migrant worker, Moussa – to keep him out of trouble. Ironically, the trip is an illicit tuna hunt which leads to a fire on the ‘Simshar’ boat which causes it to sink, and the crew to be left stranded in open water.
Simultaneously, Alex (30) – a medic reluctantly relegated to the migrant detention centre on the island – is dispatched onto the ‘Leca’; a Turkish Merchant vessel which has rescued stranded African migrants. Malta and Italy wage a bureaucratic war over who should take in the migrants, leaving Alex stuck on the vessel. On land, Theo’s mother Sharin desperately tries to find out more about the missing ‘Simshar’ which uncharacteristically is not communicating.
In the same village, John – Alex’s best friend and a soldier in the marine unit – tries to get his friend off the destitute ship, but is hindered by several elements, including the search for the ‘Simshar’. Eventually, Theo befriends Moussa; whilst Alex is shaken out of his racism by the fiery Makeda, an Eritrean passenger whom he begrudgingly depends on for translations.
Press Contact: Leslie Lucey, Producer ‘Simshar’ .
leslielucey@gmail.com Cell 310.804.2732 International Cell 001.310.804.2732
Ultimately, the migrants are taken in by Italy, however, the ‘Simshar’ crew is spotted by a trawler which, mistaking them for immigrants and not wanting the fate of the ‘Leca’, leaves them behind. By the time the fishing community tracks them down there is only one survivor leftÉ
EXPANDED SYNOPSIS
Theo (11) comes from a traditional Maltese fishing village. Although his parents, Simon and Sharin, are pushing him to pursue an education and not the dying fishing trade, he is sent on his first fishing trip to keep him out of trouble during the summer holidays. Ironically, the voyage is an illicit tuna hunt which goes terribly wrong when a fire from the clandestine freezer causes the boat to sink. The crew – Simon, Theo, his grandfather Karmenu, and a Malian migrant worker, Moussa – are left stranded in open water grappling for their lives on a raft made from fishing floatsÉ
Simultaneously, Alex (30) – a medic reluctantly relegated to the migrant detention centre on the island – is dispatched onto the ‘Leca’; a Turkish Merchant vessel which has rescued a group of stranded African boat people. Off the coast of Lampedusa but in Maltese waters, the rescue triggers a bureaucratic dispute over who should take in the migrants, leaving Alex stuck on the vessel, in the midst of sordid conditions and intense frustrations…
Press Contact: Leslie Lucey, Producer ‘Simshar’ .
leslielucey@gmail.com Cell 310.804.2732 International Cell 001.310.804.2732
On land, Sharin desperately tries to track down the ‘Simshar’ which uncharacteristically is not communicating. In the same village, John – Alex’s best friend and a soldier in the marine unit – tries to get his friend off the destitute ship, but is hindered by several elements, including the search for the ‘Simshar’ and the suspecting fishing community.
Out at sea, Theo befriends Moussa as the crew struggle to survive; whilst Alex is shaken out of his latent racism by the fiery Makeda – an Eritrean passenger whom he begrudgingly depends on for translations. When John, at the risk of his career, comes to relieve Alex of his duties, Alex surprisingly chooses to stay. Eventually, on order of the European court, the migrants are taken in by Italy, however, the ‘Simshar’ crew is spotted by a trawler which, mistaking them for immigrants and not wanting the fate of the ‘Leca’, leaves them behind.
Back in Malta, John refuses Alex’s attempt at reconciliation as he finds Alex’s behaviour to be a betrayal of their friendship. Yet, Alex’s experience on the ‘Leca’ inspires the soldier to go against conduct and the social divide, and share the results of the ‘Simshar’ search with the fishing community. With the military’s information and the fishermen’s knowledge of the sea, the ‘Simshar’ crew are traced down, but by that time there’s only one survivorÉ
Press Contact: Leslie Lucey, Producer ‘Simshar’ .
leslielucey@gmail.com Cell 310.804.2732 International Cell 001.310.804.2732
I knew that here there was a story, and one that must be told.
Ultimately, Simshar tells the story of how Simon, Theo, Karmenu, and a Malian immigrant employee – Moussa, come to be stranded in the middle of the Mediterranean after the ‘Simshar’ – Simon’s fishing boat – explodes. As the group try to survive at all costs at sea; on land, Simon’s wife Sharin, struggles to find out the whereabouts of her family during Malta’s political battle over the feverish irregular migration from Africa to Europe. Simultaneously, Alex, a young Maltese medic, is stuck with a group of rescued migrants on the Turkish merchant vessel ‘Leca’ as Malta and Italy wage bureaucratic wars over who should take the migrants.
Being the stepping-stone between Africa and Europe, Malta’s geographical position is uniquely suited for this collision of story threads and cultures. Press Contact: Leslie Lucey, Producer ‘Simshar’. leslielucey@gmail.com Cell 310.804.2732 International Cell 001.310.804.2732
Furthermore, the Maltese setting of the film provides an interesting scenario in which the old world and the new world co-exist. This gives the film yet another layer, which lends itself well to the story; seeing that the problems of immigration and the struggles of the fishing community are intrinsically related to the tensions between tradition and the need for change. The film is predominantly in Maltese with sections in English.
I believe that Simshar is powerful because it weaves together two plots in which the personal and the political collide with disastrous consequences. Ultimately Moussa, Karmenu and little Theo die because they are mistaken for irregular immigrants. Apart from being an ideal vehicle to demonstrate that a human life is always a human life, regardless of race and status; Simshar is a film about human survival Ð a universal, timeless theme which will always be relevant.
DIRECTOR’S NOTE
Open water between Malta and Libya, July 2008: . Simon Bugeja is rescued by his brother. He is the only survivor of the ill-fated ‘Simshar’ crew, and the first person ever known to live after seven days in the sea without food or waterÉ I met Simon four months later – his body still butchered by the toll of the sun and salt; his heart completely destroyed by the loss of his 11 year old son Theo, and father Karmenu, who were both with him on the cursed fishing trip. As I listened to his intense and moving account of what happened in the vast, deep, blue, I thought there was little more that Simon could tell me over what was already reported in the masses of national media coverage which had engulfed the tragedy.
Then, as I was packing my recorder and on my way out I exclaimed, almost to myself: “The Mediterranean is a small and busy sea, it is incredible that in seven days nobody saw you”. (Like the journalists and indeed the entire nation, I assumed that they weren’t saved because they weren’t seen.) To which, as though it were the most obvious thing, Simon replied that they had been seen but not picked up.
Perceiving my confusion, he went on to explain that they weren’t rescued because they must have been mistaken for irregular migrants crossing from Africa to Europe, whose boat had sank. After all, this happened all the time.
Press Contact: Leslie Lucey, Producer ‘Simshar’ .
leslielucey@gmail.com Cell 310.804.2732 International Cell 001.310.804.2732
Utterly in disbelief, I started looking into this ludicrous claim. To my surprise the captains of trawlers, fishermen, and private boat owners I spoke to were all in agreement with Simon: the once cardinal rule to save people in distress at sea was no longer cardinal. The Mediterranean, which we Maltese say has a hard head but a soft belly, has become a mass grave for people in exodus from a continent in search of a better future. Once in a while a report or article surfaces but we don’t bat an eyelid. Then it happens to us and it’s a national tragedy.
Press Contact: Leslie Lucey, Producer ‘Simshar’ .
leslielucey@gmail.com Cell 310.804.2732 International Cell 001.310.804.2732
PRODUCTION NOTES
Simshar was shot entirely on location in Malta, specifically at the Mediterranean Film Studios filming tanks, in open water and in 21 locations around the island. The post-production spanned from a visual effects house in Croatia, to a sound mixing studio in Ireland and a colour correction company in Los Angeles. Combining local and international crew and actors, Simshar is the first local feature of this scale and scope, making it a foundational work for the indigenous film industry and a hallmark for the island’s cultural heritage.
The real ‘Simshar’ survivor Simon Bugeja plays a small role in the film as well as many actual refugees and African migrants. The film has attracted attention in Italy, receiving the Gino Votano prize for best project in the making in 2012. Rebecca has also been invited to speak about the project in Rome, during TEDx Trastevere in October 2013.
Locally, the film received the Madame Dewavrin Prize for the undertaking of an unprecedented cultural initiative.
