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24th Ji.hlava International Documentary Film Festival

ji-hlavadok-revuecdfEmerging producersInspiration Forum
Untitled, 1925

Untitled, 1925

director: Madi Piller
original title: Untitled, 1925
country: Canada
year: 2016
running time: 9 min.

synopsis

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.”

biography

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.

more about film

director: Madi Piller
producer: Madi Piller
script: Madi Piller
photography: Madi Piller, Greg Boa
editing: Madi Piller
music: Rick Hyslop
sound: Greg Boa

other films in the section

Shapes of Facts
Ghostly hills and inhospitable landscapes created by physically deformed newspapers are a critical allegory of the inner workings of the contemporary media world in which, beside journalists who still hold in esteem reliable and verified information, the voice of those crooking facts and creating parallel and alternative “realities” intensify by the day. “A fact is supposed to be specific and verifiable. The fact you are willing to accept makes your reality of this world. Watch out! There are many different versions of each fact.” Y. Nishimura
personal program

Shapes of Facts

Yoshiki Nishimura
Japan / 2019 / 10 min.
section: Fascinations
World Premiere
Domus
This portrait of architect Carlo Mollino looks at the vision of organizing space, buildings or sculptures. Contours and surfaces, as well as the absence present in crossed-out notes, crumpled sketches and the shapes and textures of material and scratched patters of houses, construct a rhythmic collage of expressions to the landscape. “By way of story, C. Mollino pledged himself to his craft and foreshadowed a brilliant lifetime of architecture. In telling this story, Domus configures its author’s own intentions, transposed from architecture and housed within cinema.” R. Vermette

Domus

Rhayne Vermette
Canada / 2017 / 15 min.
section: Fascinations
International Premiere
1/8
The film’s title refers to the sharpness of human vision when compared to that of a hawk. The deformations and blurriness of the image, dependent on the density of photoreceptors, hide concreteness. The allusion to the myth of Icarus addresses questions of distance and clarity, while the meticulous rhythm of the narrative develops the themes of point of view and falling from great heights.“This film focuses on the world that exists outside of stories. By destroying the main story of man, I wanted to discover all that has been erased from him or that is trapped outside of him.” R. Hayama

1/8

Rei Hayama
Japan / 2017 / 13 min.
section: Fascinations
World Premiere
WHERE DO WE GO
Images recorded on a Lomography Supersampler, which photographs four immediately sequential moments on one frame of 35mm film, multiply the illusion of rhythmic movement and create a visual melody that hurtles forward, while the imprint of the moment remains fixed in place. The drum performance emphasizes the minimalist sharpness of the patterns. "Where do we go, in a time where borders are going to be closed again? The feeling of freedom has gone. I try to break down visual borders to rebuild a base for the spirit of freedom again." S. A. Fruhauf  

WHERE DO WE GO

Siegfried Alexander Fruhauf
Austria / 2018 / 4 min.
section: Fascinations
International Premiere
Of her Kingdom
Memories of sounds, everyday artefacts, fragments of situations, visual traces of gestures along with fleeting expressions of inner movements bring about in a gentle way the blanks and losses in this diary essay on the paramount importance of space and behaviour, duration of (un)happiness and focus on the present moment as a means of defence against exhaustion. “A film about absence/bereavement; trying to remember "her" gestures and presence through scattered fragments of memories, reminiscences of sounds and a decaying silence.” V. Guilbert     
personal program

Of her Kingdom

Vincent Guilbert
Japan / 2019 / 10 min.
section: Fascinations
World Premiere
Out of Autofocus
An image of the sea that comes close to the boundaries of abstraction, set against a backdrop of fishing nets mounted on stilts. Birds disrupt the peace of the salty air with their unpredictable trajectories of rapid flight during which the camera fights to find a focal point, so that within the limits of its automatic functions it creates an engagingly lyrical scene. In his films, Mikhail Basov (1977) explores the interaction of consumer goods and materials in the landscape and their metaphorical implications. His works have been presented at a number of international festivals and shows such as International Video Art Biennial VIDEOAKT in Barcelona, Experimental Film Festival Portland, and Festival Art Deco de Cinema in São Paulo.“A short story about the unrequited love of a videocamera for a bird.”

Out of Autofocus

Mikhail Basov
Russia / 2016 / 2 min.
section: Fascinations
European Premiere
Or / Or, Hawick, may 18
In the middle of the Teviot River in Scotland, the filmmaker saw a color in the sky like in the paintings of Gustav Klimt. He translates his amazement at this moment into fluid patterns of a digitally decomposed scene, all the way to its radical ending when the variously colored grids flowing on the screen like a calm horizon again dissolve into Klimt’s golden color. "Making films is opening my heart and letting the magical powers of life shine in my imagination to merge them in images. I try to thrill those who watch colour and time flow in my films." J. Perconte  

Or / Or, Hawick, may 18

Jacques Perconte
France / 2018 / 9 min.
section: Fascinations
World Premiere
Spectator
The filmmaker’s father walks wordlessly around his home. He sits in a chair, reading the newspaper. The image, veiled in dust that reflects the afternoon sun, shows only parts of the reader before eventually revealing the entire person, while the director is a silent observer of events. “Suzuki: In the beginner’s mind there are many possibilities, but in the expert’s there are few.” M. Hoolboom

Spectator

Mike Hoolboom
Canada / 2017 / 8 min.
section: Fascinations
East European Premiere
ROTARIO
This stereoscopic 3D film explores field of vision by slicing the visible image into sections of time and space. The centrifugal images of movement are combined in surreal compositions in which the seams disappear and reappear in moving illusions. "Stereoscopic films make sense if they make non in mono2D. ROTARIO provides the same film to each eye but with a one frame delay. The spinning carousel unfolds its depth in the spectator's vision only." B. Speidel

ROTARIO

Björn Speidel
Germany / 2017 / 8 min.
section: Fascinations
International Premiere
Double 8
Christiana Perschon shot her meeting with the artist Linda Christanell, a representative of Austria’s feminist avant-garde of the 1970s, on double 8mm fi lm without cutting. When shown, the fi lm’s split image shows footage of the two women fi lming one another to create a dialogue on seeing and being seen. “Every interaction with an image searches for its own form.  Approaching someone with my camera is not a one-way encounter but an act of getting to know each other: I see you seeing me instead of looking at you.” C. Perschon

Double 8

Christiana Perschon
Austria / 2016 / 3 min.
section: Fascinations
International Premiere
La Mesa
Genre conventions cleverly broken down with animations, breaking through the scenery of rural Mexico, where in the area surrounding the director’s family farm, symbols of stories of physical desire conceal a layer of idyllic childhood memories and come into conflict with the traditional concept of masculinity and identity expression.   "By centering queer desire within the story of my Mexican-American family, I validate my own lived experience as well as challenge popular representation of masculinity, power and vulnerability." A. G. Gomez  

La Mesa

Adrian Garcia Gomez
United States / 2018 / 10 min.
section: Fascinations
International Premiere
Impact-9.2
The filmmaker arranges 59,049 personal photographs (out of the long-term project) from 2002 and 2003, all of them created in the post-9/11 atmosphere, into repetitive geometric compositions to form a changeable structure of infinite possibilities for interpreting memories. Set to a musical composition inspired by Thomas Hardy’s poem “The Comet at Yalbury”. German-born filmmaker Thomas Mohr (1954) lives in the Netherlands. In his work, he seeks out new ways of generating images. Originally, he was drawn to abstraction; today it is digital photography. The Jihlava IDFF previously showed his film Gedankenstrich(e) (2014), in which he arranged images into regular grids to evoke a journey and pilgrimage across a landscape of text.“What d o we remember, what d o we forget and what d o we really learn? Based on 531,441 pictures taken in 30 years I’m exploring how our memories transform into experience.”

Impact-9.2

Thomas Mohr
Netherlands / 2016 / 10 min.
section: Fascinations
World Premiere
Ministerstvo kultury
Fond kinematografie
Evropská unie
Město Jihlava
Kraj Vysočina
Česká televize
Český rozhlas
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