25th Ji.hlava International Documentary Film Festival
The Devil Had Other Plans (Act II)
director: Guli Silberstein
original title: The Devil Had Other Plans (Act II)
country: United Kingdom
running time: 13 min.
Guli Silberstein turned the anxiety experienced during the first months of the covid pandemic into a three-act film experiment. He found the ideal means to express fear and paranoia in the colored version of the zombie horror movie Night of the Living Dead, which he transformed into an associative stream of abstract images.
"The processed hybrid form of film, video and digital, became a stream of consciousness acting directly on the senses, echoing the Coronavirus pandemic impact, channelling fear, paranoia and suspicion." G. Silberstein
Israeli-born video artist and editor Guli Silberstein (1969) graduated from the universities of Tel Aviv and New York. He now works in London. His experimental films such as Cry Havoc (2017), Field of Infinity (2018) and Displacement (2019) were screened at the Ji.hlava IDFF.
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other films in the section
This pictorial collage of places in the real and virtual worlds, shown in promotional spots that should lure the investment of presented companies or countries, or on the phone in company cars, is imagined through the fragmentariness of quick transactions and the necessary divisions of macrodata. The exploratory visualizations, full of numbers, data, and partial commentaries, create an engaging mini-essay on financial influence and its representation.DETAIL:This journey through game worlds emphasizes the gamification aspect of virtual operations in the financial sector.
Financial Locations (Global Mash Up)
Germany / 2015 / 5 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
Consistent manipulation of found footage showing people and faces in an urban landscape dissolved their movements into visual echoes. The melancholy remnants of the original film are subjected to the digital poetry of blurriness and the loss of meaning, gestures, and physical movements. “Producing a film includes the process of creating copies. Duplication is built into the medium itself. The change in to new form creates a different experience, though nothing has changed in the content.” S. A. Fruhauf
Heavy Eyes Remastered
Siegfried Alexander Fruhauf
Austria / 2017 / 9 min.
FilmSLEEP evokes the sense of falling asleep through slowly dissolving images of vague, irregularly moving splotches that enter the field of view and, dreamlike, create a hypnotically pulsating field of deep sleep.
Good Night, Sweet Dreams
Japan / 2010 / 7 min.
This text composition is the result of overlapping interpretations: first, the artist created an animation based on Ludwig Wittgenstein’s Tractatus Logico-Philosophicus. Three viewers formulated their own descriptions of what they saw while viewing the film, from which entire sentences, fragmentary phrases, and thoughts have been taken and associatively connected, overlaid or disintegrated into individual letters, where language and letters are the primary movers. DETAIL:76. HARDER TO DESCRIBE, IT’S THREE COLORED SHAPES AND THEN THEY SMEAR. (2:56)
Active Image O
United States / 2014 / 8 min.
The filmmaker examines culturally institutionalized expressions of repulsion against North Korea and communism through a compilation of materials from educational, instruction and propaganda films produced primarily by the South Korean government over the past 60 years. DETAIL:He also tells the story of a boy who was put to death for his outspoken expressions of hatred of communism and ironizes the myth that sprang up around this figure.
South Korea / 2014 / 10 min.
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
Of her Kingdom
Japan / 2019 / 10 min.
A visitor from outer space travels to Earth where he takes on the form of a Vietnamese boy. He witnesses the construction of a large temple and meets various different characters who, like him, are all looking for a place they can call home. This peculiar film benefits from the mysterious atmosphere of authentic Vietnamese locations. Q&A with Ostin Fam:
Vietnam, South Korea, Thailand, Singapore / 2020 / 22 min.
The image’s fragile cohesiveness, disturbed by digital disintegration and overlays to create a visually impressive composition, emphasizes the need to think about remediated messages on the subject of nationalism and militarism, for the filmmaker works with images of Palestinian fields being burnt by Jewish settlers and vows taken by Israeli soldiers at the Wailing Wall in Jerusalem. “My work tracks patterns in nature, landscape and human form, perceived by camera and mind, struggling to comprehend the vast intensity of the living experience of the world through electronic media.“ G. Silberstein
United Kingdom / 2019 / 5 min.
Delving for a brief moment into an everyday scene, we see various movements at various speeds and experience microstories representing the familiarity of the street. The classical technique of analytical slowing down different parts of the image at different speeds is used to capture an otherwise invisible phenomenon. “Sometimes in a flash you become aware of the fact that time does not matter.” M. Manchevski
The End of Time
Cuba, United States / 2017 / 5 min.
The first part of a seven-part adaptation of the influential 1990 book of the same name by American philosopher and art theorist Noël Carroll. In the spirit of cinematic philosophy (filmosophy), Lichter explores various aspects of the horror genre – in this part, primarily the position of the characters, the human bodies, and the types of gazes to which they are subjects – by directly manipulating the body of the film. “The Philosophy of Horror: A Symphony of Film Theory is an immersive meditation on genre theory, which aims to demonstrate the eternal beauty of Art Philosophy and Pop Culture’s interconnectedness.” B. Máté, P. Lichter
The Philosophy of Horror (Part I): Etymology
Bori Máté, Péter Lichter
Hungary / 2019 / 7 min.
The margins and horizons of a landscape that perhaps never existed. A story told using the invented language of the Na’vi (created for the film Avatar), in which rhythm and tone create the narration. A semantic vision of the absence of what is present – birthplace, home, solid ground – questions the imagination about the unclear boundary between what is dream, what is possible and what is real. “I guess that the memory of a look is always indefinite and compromised by details.” G. Giaretta
Netherlands, Italy / 2017 / 9 min.
East European Premiere