Wild Eye - Annihilation of Space - Despite of Limitations

Why do we have hairs, what is their purpose, what are they made of, and when did we stop loving them? The hybrid audiovisual essay with performative moments gives us various perspectives of the hair. Instructional video elements based on facts and macroscopic details are interspersed with staged and highly stylized scenes.

This thought experiment, based on Brůha's kinetic sculptures, views time as a landscape. Eerie images of rocks submerged in fog represent an anonymous characterless space. The stone terrain becomes a face into the wrinkles of which time is written as the metaphysical plane of material existence.   "According to Augustine, time is not just the movement of celestial bodies, but rather an idea, a being, a metaphysical category, an environment." Resonare de INTER Solaris At 16:00 Andrea Slováková, programmer of the Fascinations Section speaks about film and other with the directors. HERE.

Tuning of awareness. Garden and butterflies, storm, and then you figured out that you’ve been watching the surface the whole time and here come the aliens who bring the language. Talking and meeting the light, flights flows and knows more here, that’s what I hear, when it looks at me! It is talking! Come here, now!

Personal reflections by a woman with a distorted image of herself. The twin voiceover presents the stream of negative as well as comforting thoughts that run through the head of a women suffering from bulimia. The film thus reveals the changing nature and uncertainty of personal experience, while also exploring parts of the naked figure to share her beautiful yet despised body.

The experimental film Unknown presents prototypical urban motifs, such as public transport and escalators, transforming them into abstract black and grey fragments using rotoscope animation to the accompaniment of authentic sounds. Using these scenes, the filmmaker is trying to evoke in the viewer the subjective feeling of alienation in the anonymous environment of a city.

A series of three experimental films, which can be projected also in a loop, deals with nature through quick, dynamic camera movements, attacking the viewer’s perception. The films were produced as a final examination work in the studio of time-based media whose students try a variety of methods of multimedia processing of sound and image.

This journey in a static shot from Lubomír Lipský's Cirkus je cirkus (Circus Is Circus) explores the relationship between memory and visual history. A fragment from the visual database of the collective memory is accompanied by excerpts from an essay by Karel Kosík on the inability of Czechs to affect real politics through democratic elections.

The filmmaker explores the principles of movement while dreaming, and constructs them outside of the world of dreams by inserting graphic elements into images from the real world and simulating the space of a computer game in the virtual world. As she passes through these fictional worlds, the main character takes on a real as well as animated form.

A portrait of sunlight, created on 35mm film negative using a camera obscura built by the filmmaker. The camera records a plant from morning to evening at several-minute intervals. The sequence of images compiled from these photographs create a cinematic sundial.

Blinking icons, pop-up windows, a blaring alarm clock, and the blipping of unread messages are normal parts of our everyday lives. The creator turns her back on the endless stream of information and attempts to escape from the world of modern communication technologies for at least five minutes to devote some attention to herself.

The author uses film as an art-therapy tool to cope with traumatizing experience of her own. Told from a child’s point of view, the story builds on the symbolism of both common and uncommon objects, a clay body, a writhing snake or a metal means of payment, projected into the narrative structure of repeating motifs.

This experimental film collage makes use of documentary, fiction and animated film techniques. The fading traces of childhood are mixed with the folk culture of the Haná region, all of it shot on 16mm film. The filmmaker thus preserves her chosen motifs, which are slowly but irrevocably disappearing from the present day.