25th Ji.hlava International Documentary Film Festival
Baroque Femina (Nr.7-11)
director: Péter Lichter
original title: Barokk Femina (Nr.7-11)
running time: 16 min.
Documentary footage, Hollywood cinema and video games collide, overlap and submerge into each other in a Dadaist collage inspired by the poetry of Hungarian poet Mário Z. Nemes. The hypermedia nature of the present is emphasised by fragments that are free of a clear narrative backbone.
Hungarian experimental filmmaker and film theorist Péter Lichter (1984) studied film history and theory at the University of Budapest. His found footage abstract films and lyrical documentaries have been screened at festivals in Berlin, Rotterdam and Jihlava (most recently The Philosophy of Horror (Part I): Etymology, 2019). He is also the author of several different film publications.
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|script:||Márió Nemes Z.|
other films in the section
The use traditional multiple exposure techniques combine with the search for formal similarities to create a lyrical work in which the outlines of rivers and plants merge together and vibrant colors alternate in a constant rhythm of overlapping and multiplication. "Colectivo Los Ingrávidos arises from the need to dismantle the audiovisual grammar that the aesthetic-television-cinematic corporativism has used to guarantee the diffusion of one audiovisual ideology." Colectivo Los Ingrávidos
The Sun Quartet, part 1: Sun Stone
Colectivo Los Ingrávidos
Mexico / 2017 / 8 min.
East European Premiere
A game with spatial planes and narrative layers, spread out in one frame, an ironic polemic with the conventional ordered arrangement of scenes. This 3D movie is a humorous allusion to the theories of an American parapsychologist known as the full field method. In the 1970s, he wanted to use this method to show the possibility of telepathy by depriving a subject of several of his senses, thus allowing him to concentrate on the possibility of sending and receiving thoughts and images.
Nadia Ranocchi, David Zamagni
Italy / 2011 / 5 min.
Central European Premiere
Consisting of multiple variations of interior and exterior views during a train trip, with the various images ordered into tidy grids evoking the ride, the film is primarily a journey through a landscape of text. It is based on Requiem, a composition by German conceptual artist Hanne Darboven, whose “mathematical music” creates sound from numbers that refer to important moments in cultural history, manually arranged into tables to create large-scale installations. DETAIL:The film is part of series dedicated to various parts of the Requiem, here opus 22, book 60, where “Gedankenstrich(e)” was an oft-repeated marginal note referring to painter Max Dauthendey’s book describing his travels around the world.
Germany, Netherlands / 2014 / 9 min.
A sensitive, impressive collage of intimate reflections, detailed observations, fragments of memories, and visual and musical allusions conducts an imaginary dialogue about how memory works and identity construction with a father who died a year earlier."What is a film if not collective dreaming made by conscious minds. Symbolism and myths are present in both dreams and films and rely on our memory and imagination for relating to the produced imagery." M. Lizides
Wax and Feathers
United Kingdom, Cyprus / 2018 / 15 min.
This conceptual reinterpretation of classic avantgarde film is based on a decomposition of Norman McLaren’s Synchromy (1971). The original scenes were separated into 11 columns, each with its own soundtrack created using special software. In a similar manner, these soundtracks then formed the foundation for new images.DETAIL:The soundtrack to McLaren’s original legendary film was made by photographing sample cards with various lines that the filmmaker arranged on the optical audio-track in order to create sets of tones. These shapes, which were also colored, were then shown on screen. The result is a film in which the audience literally sees what it hears.
Study of Synchromy
Canada / 2014 / 3 min.
FilmUFO presents a sci-fi documentary about an alien civilization that has come to colonize Earth. The film is proof that all it takes to make the unearthly seem real is a change in viewpoint, length of exposition, or level of contrast. An uninviting vision of meeting and otherness, in an unreal projection of ordinary places.
Yin-Ju Chen, James T. Hong
Germany, Netherlands, Taiwan / 2010 / 16 min.
In high-contrast black-and-white images of nature and mountain villages, the filmmaker meditates on family origins and identity while traveling across the Andes along the same route taken in 1925 by her Jewish grandfather (a professional boxer originally from Romania) in order to acquire Peruvian citizenship, which 12 years later allowed him and his family to leave Europe. Peru native Madi Piller (1960) lives in Canada, where she works as an independent filmmaker, animator, and programmer and curator for the Toronto Animated Image Society (TAIS). Her abstract poetic films combine various cinematic styles and techniques and explore themes of memory, introspection, and the search for cultural identity.“Delving into memory and reflecting on territorial space, the film revisits a passage in life. By using 16mm high contrast film and by processing the silver essence of the film material resurfaced as a layer such as the hidden treasures of the Andes.”
Canada / 2016 / 9 min.
An exploration of the experiences associated with a place whose appearance, arrangements, smells, and even deficiencies form the memory of a distant past. The sale of the director’s childhood home, which had belonged to her family for 25 years, forms the starting point for looking over old photographs, retelling old anecdotes, and interviewing relatives. Using animation, the director pieces these fragments together in order to explore the house’s individual rooms and her own childhood.
An Incomplete History of the Travelogue, 1925
Sasha Waters Freyer
United States / 2012 / 10 min.
A description of non-randomness in the processes by which atoms join to form matter, accompanied by images from a museum laboratory. Subtle alterations to the real image are Formulas with scenes of a mineralogist’s work. Chemical equations and virtual bodies and shapes give form to the invisible processes involved in the creation of substances. “We spent an intensive three months as artists in residence in the Mineral Sciences Laboratory at the Smithsonian National Museum of Natural History; this is the work that came out. The green workshop has since been redecorated and is no longer home to all these amazing curiosities.” R. Jarman, J. Gerhardt
Where Shapes Come From
United Kingdom, United States / 2016 / 11 min.
The simple combination of movements by the camera and the observer creates a hypnotic ride in which, despite a voiceover emphasizing calm and relaxation, rotating objects and lights create an unsettling physical experience and dig the viewer´s imagination deep into grogginess of unsettled look. “Hypnodrome is motion-induced delirium. A cinematographic look through the ‘egocentric camera’ and an homage to cinema as a site of contemplation and trance.” R. Wilhelmer
Austria / 2017 / 5 min.
East European Premiere
FilmLEAF creates a herbarium of a photogenic garden amidst a snow-covered city. By looking closely at individual plants, the film engages in a precise study of shapes and colors; its romanticized mood reminds us of films that make use of objects glued directly onto the film.
In the Conservatory
United States / 2010 / 7 min.
As it calmly explores the grounds of Expo 67, this found-footage collage travels back in time to when Montreal hosted this exhibition of civilizational progress. The film delves into the various exhibitions and works with footage from documentary and instructional films to reflect upon the key points of progress and iconic symbols of its implementation.DETAIL:A re-reading of the expo’s symbol of the globe evokes not only memories of the era’s pride in technological progress, but also emphasize the aesthetic force if its celebration.
By The Time We Got To Expo
Eva Kolcze, Philip Hoffman
Canada / 2015 / 9 min.