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24th Ji.hlava International Documentary Film Festival

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Noiseless, Desert Extras
Noiseless, Desert Extras
Noiseless, Desert Extras
Noiseless, Desert Extras

Noiseless, Desert Extras

director: Michał Mądracki, Maciej Madracki, Gilles Lepore
original title: Sans bruit, les figurants du desert
country: Poland, France, Morocco
year: 2017
running time: 64 min.

synopsis

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

biography

Gilles Lepore (1972) is a Swiss filmmaker, comics creator, and illustrator with close links to Polish film. Michał Mądracki (1979) is a Polish novelist and screenwriter who has a degree in religious studies from Jagiellonian University. Maciej Mądracki (1984) studied film science at Jagiellonian University, and directing at the University of Silesia in Katowice. This filmmaking trio introduced the film The Work of the Machines (2010) at the Ji.hlava IDFF in 2010.

more about film

director: Michał Mądracki, Maciej Madracki, Gilles Lepore
producer: Haut Les Mains Productions, Otter Films
sound: IGOR KŁACZYŃSKI

other films in the section

Sand and Blood
The film takes a look at the recent history of two Middle Eastern countries torn by war – Iraq and Syria – from the perspective of local residents who have made the decision to flee their homes and seek asylum in Austria. It’s made up of a montage of conversations with refugees and amateur videos and images from various social networks and online platforms depicting events in both countries. Sand and Blood links individual stories and histories which are intended to awaken a deeper interest in the topic. Instead of a political film, the director considers his work to be something like a painting or poem. „A film that forces the viewer to question the very nature of good and evil, victim and perpetrator.” M. Krepp

Sand and Blood

Matthias Krepp
Austria / 2017 / 90 min.
section: First Lights
East 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
The Paradise
The film consists of video tapes made by the filmmaker’s father documenting daily scenes of family life, family celebrations, and holidays over the course of fifteen years. The tapes are a mixture of the personal and the political – the father was politically engaged in the revolutionary movement that brought Hugo Chávez to power. The family’s life becomes a backdrop for political and economic developments in Venezuela and their impact on the lives of ordinary citizens. Throughout the entire film, Ferreira offers commentary full of personal memories and historical facts. At the end, she returns to her family home, which has changed been recognition. "When I found my father's family tapes it was almost a revelation, I felt a strong need to tell the history of my country through its lens. A metaphor for what we were and what we are, reconstruction and reborn." D. Ferreira

The Paradise

Dulce Ferreira Sanchez
Venezuela / 2018 / 93 min.
section: First Lights
World Premiere
On the Edge of Freedom
Moscow and Kyiv. Angela and Vlad. Two young and talented people brought together by an unusual passion for the extravagant and public conquest of forbidden parts of the city. Tall buildings, underground tunnels or freight trains are the new pastimes of a young generation yearning to get out of the rut, escape a predictable future and find fame among their peers through risky “urbex” videos. At the same time, however, the logic of social networks is turning them into a commercial phenomenon that can bring them big money – but also compel them to engage in even crazier stunts. “This is urban exploration, baby!” “This is a portrait of a new generation we rarely hear about. It is a film about the human behind an extreme phenomenon.” A. M. Hopland

On the Edge of Freedom

Anita Mathal Hopland, Jens Lengerke
Denmark / 2017 / 74 min.
section: First Lights
Central European Premiere
Owner’s Portrait
A fable-like documentary composed of footage from different corners of the planet juxtaposes animals and humans like two separate yet connected universes. Virtually without speech, with a heavy emphasis on the audio component, it tells the story of an island of untamed cats and mysterious antennas that broadcast to the world on long-wave radio a call for liberation from the economic and social ties that bind us. Everywhere the radio waves reach, we see static shots of human bondage and animal freedom, and by linking these contrasting images, an Eisenstein-style montage emerges, with new cinematic meaning.„Everything started with an image in my head: a world without pets. That image became a documentary essay with a science fiction atmosphere, about freedom, work, domestic animals and societies in capitalism.“ J. Maito

Owner’s Portrait

Joaquín Maito
Argentina / 2018 / 80 min.
section: First Lights
World Premiere
FREM
The film is a reaction to the current wave of post-humanist thinking caused by the development of technology and artifi cial intelligence as well as the climate crisis. The human species is beginning to realize its insignifi cance and transience, and human identity has found itself in a crisis. The fi lm FREM attempts to refl ect this feeling and creates a dehumanized and alienated view of landscape and nature beyond human perception of reality. Incomplete thoughts and fragments of dialogue, diverse music interrupted by rushes and glitches, and the seemingly confused, unanchored camera, create a disturbing, philosophical refl ection on the limits of anthropocentric thinking. "Making this film was an extreme experience, in every aspect, not only physical, since we shot in Antarctica. I had to think un-thinkable. Leave the prison of anthropomorphism behind. Stop being human." V. Čákanyová
personal program

FREM

Viera Čákanyová
Czech Republic, Slovakia / 2019 / 73 min.
section: First Lights
World Premiere
The Things
Nearly 10 years after the conflict in Georgia, Georgian inhabitants of the Russian-occupied territory are still living in temporary camps, waiting to return home. Their dwellings are cookie-cutter houses. They brought only the few items that they managed to grab from their homes when fleeing from the occupation army. Equally austere, almost as empty as their provisional housing, they live their lives at the mercy of waiting for what is to come. In this meditative documentary, real relics of their past lives, everyday things brought from their original homes, are the most tangible manifestations of the irreversibility of time as measured by losses. “We attempted to reflect about war experience from particular perspective, to meet persons rather than statistics, to observe rather than inquire, to contemplate about something we all share - the attachments.” Nino Gogua

The Things

Nino Gogua
Georgia / 2016 / 62 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
Sea Tomorrow
This observational documentary examines the disappearance of the Aral Sea and attempts at its restoration. At the location where the majority of maps and atlases show a large, majestic body of water, Katerina Suvorova finds only a largish pond and an arid wasteland, filled with the rusting remnants of wrecks waiting for scrap metal collectors. Shots of the enigmatic landscape, consisting of endless expanses of sand and dust, are alternated with captivating details. Just as fascinating is the strong will and faith of the people who have stayed in this inhospitable environment, such as old gardener, fishermen, and a hydrobiologist. They hope that the sea will return, they are fighting to save it, and they all hope for a better tomorrow. “I see people of the Aral region as a collective image of the last survivors on Earth. Their stories prove that even when the last shuttle abandons our racked planet, there will be people who stay and prefer correction of errors of the past to uncertainty of the future.” Katerina Suvorova

Sea Tomorrow

Yekaterina Suvorova
Kazakhstan, Germany / 2015 / 88 min.
section: First Lights
East European 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
God Straightens Legs
At the center of this observational documentary stands the director's mother, Renée, bedridden with an insidious disease. With respect for her mother’s devotional faith, the atheistic-minded filmmaker captures a woman who for religious reasons refused to undergo traditional chemotherapy and waits for a miracle between the walls of her bedroom . While outside the window of the woman's room life goes on day after day, the camera patiently follows the protagonist during her normal activities with which she whiles away the hours - watching TV, talking with friends, praying with a friend, meeting with nurses, as well as routinely cleaning the house."Dealing not only with the trauma of her diagnosis but also with societal reproach for her decision, I wanted to make a portrait of my mother without judgement, instead with empathy, curiosity and patience." J. Walinga

God Straightens Legs

Joële Walinga
Canada / 2018 / 67 min.
section: First Lights
International Premiere
Taego Ãwa
Tutawa Tuagaek, the ageing leader of the Ãwa, a Brazilian indigenous tribe, is one of the last survivors of the 1973 massacre of Indians in the Amazon jungle. This team of filmmaker-ethnographers records his everyday life in the company of young followers, to whom he is trying to pass on his experiences. The Indian community’s everyday rituals are contrasted with found photographs and video clips that offer rare evidence of the atrocities that Tutawa recounts. Different epochs and visual formats create a continuum that reveals the traumatic history of an oppressed people who have managed to survive despite all odds."The imagination is not only mediator between understanding and sensibility, it has its own dynamism, scheme free, organized bodies, constituted individuals, fixed identities, consolidated psyches."

Taego Ãwa

Henrique Borela, Marcela Borela
Brazil / 2016 / 75 min.
section: First Lights
East European Premiere
Ministerstvo kultury
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