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24th Ji.hlava International Documentary Film Festival

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Aphasia
Aphasia
Aphasia

Aphasia

director: Jelena Jureša
original title: Aphasia
country: Belgium
year: 2019
running time: 80 min.

synopsis

The brutal Belgian colonial policy, the Austrian oppression of the Balkans, and ethnic conflicts after the breakup of Yugoslavia – these seemingly unrelated historical episodes create one line of the documentary. In the film, history becomes a kind of speech, which often leads to the inability to formulate a complete sentence in the statements of a person suffering from loss of speech or speech disorder. In three acts, the film looks for words to describe and understand the existence of the museum of the Belgian colonial history, the hovering of Kurt Waldheim before the commission investigating his involvement in SS, and the infamous photograph of the Belgrade’s most popular DJ kicking the head of a dead woman.

“Slavenka Drakulic once wrote that if we believe that the perpetrators are monsters it is because we would like to separate ‘us’ from ‘them’. Aphasia came as a result of questioning that distance.” J. Juresa

biography

Jelena Juresa (1974) was born in Novi Sad in the former Yugoslavia; now she lives and works in Ghent, Belgium. In her photographs, videos and texts, she deals with the issues of identity and memory in politics in. Her work is often related to history, using archival materials contrasted with personal memories and official political narratives.

more about film

director: Jelena Jureša
cast: Barbara Matejčić, Ivana Jozić, Andrew Wise
producer: Quaghebeur Rolf
script: Asa Mendelsohn, Jelena Jureša
photography: Jelena Jureša
editing: Jelena Jureša
music: Sinkauz Alen, Sinkauz Nenad
sound: Slobodan Bajić

other films in the section

Noiseless, Desert Extras
Since the dawn of cinematography, the Moroccan city of Ouarzazate has been a lively center where extras for films with an Arabic theme are found in abundance. This poetic documentary, intentionally using acknowledged staging, shows how the electrifying energy of film flows through the local population. In this “game for real”, the filmmakers deconstruct film as an imitation of life, but one that becomes more than real for the interviewed film extras. This story presents the totality of moving images from a location where you would definitely never look for it."We are concerned about ideologies and fantasies that shape singular communities. In Noiseless we decided to build pictures with the extras of Ouarzazate to reflect on cinema's illusions." G. Lepore, Maciek and Michał Madracki

Noiseless, Desert Extras

Michał Mądracki, Maciej Madracki, Gilles Lepore
Poland, France, Morocco / 2017 / 64 min.
section: First Lights
European Premiere
Like an Abortion, for the Very First Time
The Umbrella Movement was a wave of street protests that took place in Hong Kong from September to December 2014 as a reaction to oppressive practices of the Chinese government against the citizens of Hong Kong dissatisfied with planned changes in the electoral system. In her feature film debut, To Liu captured the citizens of the western part of Kowloon, Mong Kok, whose protests might not have been as visible as those of the leading activists, but were no less important. The documentary rhythmized by opening entries and darkening of the scene, much like the director’s first film, follows two characters, a master and an apprentice.„'We are the fucking losers. But at least we fought', Mongkok people." T. Liu

Like an Abortion, for the Very First Time

To Liu
Hong Kong SAR China / 2018 / 102 min.
section: First Lights
World Premiere
Connatural
This documentary, shot on black and white film, is an excruciating meditation on living close to death, which is nonetheless an inseparable part of life. Three generations of women live in one home, away from other people: an ageing mother, her two daughters, and her granddaughter. In long, slow shots, we see ordinary, regular actions that make up their day: braiding hair in the morning, cleaning the mother’s feet, reading the evening prayers. Lyrically stylized scenes depict their lives as an endless succession of moments of solitude, but which in their sequence and repetition gain strength, approaching analogy in the surrounding beautiful but inert nature.“Connatural stems from a need to express a series of emotions and thoughts related to the human condition. It delves into universal issues that are not usually represented as the experience of old age, everyday life and closeness to death.” J. Bellido

Connatural

Javier Bellido Valdivia
Peru / 2018 / 83 min.
section: First Lights
World Premiere
The Making of Justice
A consistently out-of-focus visual record tracking seven men as they discuss the screenplay for a film about the life path of Tom, a young murderer who, after twelve years in prison, returns to the village where he lived, and tries to prove – to himself and others – that he has changed. The camera slides down the walls, snoops between chair legs, and captures useless details of the individual body parts of the participating figures. The schematic story of Tom’s guilt, punishment, and new beginning, which the film’s director guides her consultants through step by step, gradually gains in plasticity and becomes a surprisingly effective tool for thinking about the image of a criminal and the concept of justice. "Fiction is a powerful tool to re-imagine oneself and the world, a place where judgement can be suspended. This is a rare occasion to hear the voices of perpetrators as human beings, in an increasingly revengeful society."  S. Vanhee

The Making of Justice

Sarah Vanhee
Belgium / 2017 / 60 min.
section: First Lights
World Premiere
Double Me
The film is based on photographs, manuscripts, audio recordings and 8mm films shot by the ethnographer Gregorio Hernández de Alba in the 1930s and 1940s. The director has used the materials to create a partial reconstruction of Hernández’s expeditions, and his unique image collages illustrate the way of life of the natives and the tragic misunderstandings between them and the Spanish colonizers. The film is interlaced with fictional scenes that bring the conqueror Pero López to life. The film on the border between reality and dream reveals the inability of the Colombians of two different origins to understand one another. „Exota (noun): one who manages to return to himself after having undergone the experience of diversity.“ F. Rugeles

Double Me

Felipe Rugeles
Colombia, Spain / 2018 / 80 min.
section: First Lights
European Premiere
I Remember Nothing
As Tunisia experiences revolutionary unrest, Diane tries to come to terms with manic-depressive symptoms so intense that she nearly loses her memory. Five years later, she comes across the diverse records – photographs, diaries and home videos – that she kept during thi time of crisis. She then transforms these documentary materials into a tool by which she captures the seemingly lost fragments of memory. Nevertheless, her goal is not to weave these fragments into a holistic narrative, but to preserve their fluidity in order to present the chaotic events that made the chasm between the public and the private unimaginable."This is the story of a broken memory locked on a harddrive. I wanted to look at the pieces of the puzzle - footage, sounds. To face the black holes. Remember. Show the violence of this inner storm." D. S. Bouzgarrou

I Remember Nothing

Diane Sara Bouzgarrou
France / 2017 / 59 min.
section: First Lights
International Premiere
We Own the Crisis
Greece has been affected by a drawn-out financial crisis for the past several years. The protagonists of this documentary about state power and its impact on individuals comprise a three-member family living in the capital city. Georgia works six days a week; Panagiotis is unsuccessfully looking for a job; and their daughter, Basiliki, is about to graduate. They all live in a house originally owned by Panagiotis’ family. Thus far they have been lucky. Some Greeks have been forced to live in the streets after banks auctioned off their property. How this one family functions is an authentic example of a whole nation in distress. Whether explicitly on camera or concealed in their actions, we can see the helplessness in their daily lives."I think of the Athenians on the streets. I hear them say, 'A hopeless situation forces you to keep on hoping.' " R. Kaufmann

We Own the Crisis

Rebekka Kaufmann
Germany, Greece / 2018 / 65 min.
section: First Lights
International Premiere
Dopamina
The filmmaker’s family falls into crisis when her father is diagnosed with Parkinson’s disease – a condition in which the brain stops producing dopamine, the hormone responsible for muscle movement and happiness. At the same time, Natalia is coming out to her parents, former left-wing social activists, something for which they have no understanding. In her intimate and contemplative film, the director interviews her relatives about their life stories and, through an intergenerational dialogue, tries to reach a mutual respect and family harmony that could help her sick father. “Making films is my way of experiencing the world, the most organic form of inhabiting it that I have ever felt. Dopamine, my first feature film, was a necessity and a beautiful exorcism.” N. Imery Almario 
personal program

Dopamina

Natalia Imery Almario
Colombia, Uruguay, Argentina / 2019 / 87 min.
section: First Lights
World Premiere
My Name is Hungry Buffalo
Jan calls himself Buffalo. He loves cowboys, he’s blind, and may lose his hearing. Pavel Jurda’s documentary follows his journey to America to visit the chief of the Navajo tribe, who wants to perform a ritual to help his hearing. The film is full of unpretentious humor thanks to Jan’s charisma. In the USA, he’s like the Don Quixote of the Wild West - a naive adventurer in a world that is much more ordinary than his imagination. This observational, but not standoffish, film is also an example of how the medium of film can relate to blind people by constantly showing the difference between what Jan perceives and what we actually see.“The film is not about blindness, even if the main character is blind. It is about yearning for life. ‘We are all handicapped in some way,’ says a guy during a journey that starts with an accident and ends in triumph.”

My Name is Hungry Buffalo

Pavel Jurda
Czech Republic / 2016 / 83 min.
section: First Lights
World Premiere
Panoptic
Lebanese filmmaker Rana Eid’s documentary essay premiered in the Signs of Life section at the Locarno Film Festival, a film in which she captured her journey through Beirut while mourning the death of her father. In an attempt to understand her hometown, she decided to explore its very core – its underground. Because that was exactly how she de facto lived – in hiding, just as everyone else did during the 17-year-long civil war. The director’s personal journey, filled with atmospheric, auditory sensations (she doesn’t deny her years of sound work), reflects Lebanon’s troubled past, as well as its present and future prospects, on a whole different level. “Drawing into my own memories, Panoptic is both a historical document and the memoir of an ordinary citizen trying to understand the injustices we lived through in Lebanon over the past 40 years.” R. Eid

Panoptic

Rana Eid
Lebanon, United Arab Emirates / 2017 / 69 min.
section: First Lights
East European Premiere
Czech Journal: Teaching War
This episode from the Czech Journal series examines how a military spirit is slowly returning to our society. Attempts to renew military training or compulsory military service and in general to prepare the nation for the next big war go hand in hand with society’s fear of the Russians, the Muslims, or whatever other “enemies”. This observational flight over the machine gun nest of Czech militarism becomes a grotesque, unsettling military parade. It can be considered not only to be a message about how easily people allow themselves to be manipulated into a state of paranoia by the media, but also a warning against the possibility that extremism will become a part of the regular school curriculum.“In order to identify the reason for which people prepare for war in the name of peace, I have started to portray the rising military spirit in a kaleidoscopic image.”

Czech Journal: Teaching War

Adéla Komrzý
Czech Republic / 2016 / 69 min.
section: First Lights
World Premiere
In Praise of Nothing
“A whistleblowing documentary parody about Nothing.” That is how the filmmakers describe In Praise of Nothing. In fact, Nothing is the only protagonist of this essay-like film. An ironic and unflinchingly critical monologue, delivered in simple rhymes and with the voice of Iggy Pop, accompanied by captivating and succinctly expressive footage shot by several dozen people all over the world with the assignment to “shoot nothing.” „A cinematic equivalent to Erasmus’s humanistic classic In Praise of Folly, in which Folly goes around the world arguing it is smarter to be mad than smart. 500 years later, it is Nothing who gets the main role.“ B. Mitić

In Praise of Nothing

Boris Mitic
Serbia, Croatia, France / 2017 / 78 min.
section: First Lights
Central European Premiere
Ministerstvo kultury
Fond kinematografie
Evropská unie
Město Jihlava
Kraj Vysočina
Česká televize
Český rozhlas
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