24th Ji.hlava International Documentary Film Festival
original title: LES SAUVAGES
running time: 11 min.
synopsisA philosophical portrait of situationalists Herbert Holl and Kza Han, who believe in revolution through art. They live on an island where they have written poems and translated the work of Alexander Kluge. Together they enter a landscape with gestures and artifacts as their considerations for symbols and individuality permeate though film sketches from their everyday life.
"We love Herbert and Kza’s way of thinking. So we tried to traslate that in little performance. Each day we came up with a strange idea. They were surprised, but always put confidence in us."
biographyCamille Tricaud studied philosophy while Felix Herrmann studied history and the Persian-Farsi language. They currently live in Germany, studying at the Department of Documentary Film at the Munich Television and Film School. They often develop their own relationship to beauty through portraits of other artists, like for example Camille Tricaud in Couz (2017), a film about young rappers, and Felix Herrmann in Rough Diamonds ( 2015), dedicated to the Austrian poet Ianina Ilitcheva.
more about film
|director:||Camille Tricaud, Felix Herrmann|
|cast:||Herbert Holl, Kza Han, Valerie Pachner|
|producer:||Kristina Kilian, Marina Hufnagel|
|photography:||Camille Tricaud, Felix Herrmann|
|editing:||Camille Tricaud, Felix Herrmann|
other films in the section
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Alejandro Alonso Estrella
Cuba / 2019 / 12 min.
A concentrated look at the point in the Mediterranean Sea where a large number of migrants, including dozens of children, died on 11 October 2013. The series of dissapearing images becomes a call for providing aid to the boats trying to reach affl uent Europe. “Contributing to creating new dynamics of social autonomy and trying to offset systemic inequalities by making possible different socio political conditions through art.” A . Onco
N 34º 20’ 18” E 12º 42’ 05”
Spain / 2017 / 6 min.
Another contribution of this authoress to the reflection of genre films, this time dealing with romantic melodrama, confronts the expressive character of the film medium with the viewers’ perception in radical juxtapositions of eyes closely observing the movie Who’s Afraid of Virginia Woolf? and spots of red, green and blue colours that bite into them accompanied by harrowing noises and music. “Who's Afraid of RGB plays with self-referentiality in art, with the relation between artwork and viewer, references to other works of art and to scientific fields, as here to psychophysiology.” B. Roisz
Who's Afraid Of RGB
Austria / 2019 / 9 min.
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
Adrian Garcia Gomez
United States / 2018 / 10 min.
A digitally distorted seascape brings out the horizon, which together with the rolling waves creates a visually hypnotic abstract composition of horizontal surfaces, moving in time to minimalist piano music and electronically manipulated ocean sounds, in a seemingly continuous observation of the shore. “Each line with its own intrinsic ‘intuition’ metamorphoses my perception, exploring how all these personal, inner experiences, both illusionary and tactile, shift and transform into a visual poem.”
Latency, Contemplation 1
United States, South Korea / 2016 / 6 min.
Tree, water, house. An exploration of particles of visual depiction and musical passages composed into impressions and unambiguities with the characteristics of movement, contrast and stylistic attributes that form the foundations in a study of the fragility and solidity of visual depiction. “Celluloid must go on!” T. Burlin
France / 2017 / 7 min.
East European Premiere
Fragments of a body chiseled from darkness carve out a study of a nude female figure, sensual at specific moments, and in places disappearing into digital darkness. A lyrical treatise on intimacy and secrecy and an implicit polemic with a voyeuristic gaze create a longing for constrained completeness. "I dissect the perception and the mental state that arise while being watched, penetrated and examined and the experience of the viewer, involuntary being forced to follow the gaze of the camera." T. Kjellmark
Sweden / 2018 / 10 min.
East European Premiere
Stitched-together photographs become a drama in which memories are tangled, pierced by holes, and deformed in order to hide the seams of a story of falling in love, being in love, and the end of love, and to inspire further stories in which a family picture reflects norms of behaviour and stereotypes associated with the experience of love. “Relationships with loved ones are always complicated tangled threads. Fragile and solid, addictive and lonely, forming beautiful patterns and painful collisions. The film is an attempt to transmit that vortex into an apprehensible form.” P.-R. Jaik
Austria / 2017 / 6 min.
A visual miniature made of a single image strip, evokes the process of wandering through the landscape through both captured images and through images made by motion of their individual parts, resourcefully putting in use optic features of film imprint in order to let the scenes disappear in the structure of the material by blurring and slurring their outlines. “I build shutterless cameras to bypass sequential frame-by-frame recording and document reality using an uninterrupted flow of light. The world appears melted together in a single image shifting in time.” U. Petronin
Netherlands / 2019 / 5 min.
The color of skin and of film become the center of discourse: The filmmaker’s mixed-race background is reflected in imprints of the landscape and ruptures within it, but also in the color of the faded Kodachrome film, whose typical visual characteristics have dissolved in time. Hues are barely visible and only with difficulty capture the image of a body that does not fall into any clear categories. "Where does film fail or resist us? Working on celluloid I make images which affirm mixed race culture and the cultural in between." R. Storr
The Image that Spits, the Eye that Accumulates
United Kingdom / 2018 / 11 min.
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.”
Netherlands / 2016 / 10 min.
Made on 35mm film without the use of a camera, this film is dedicated to British musician and composer of electronic and concrete music Delia Derbyshire. The filmmaker works with drawings of Derbyshire’s scores and visualizations of her sound and music inventions, accompanied by a musical collage of sound compositions for theater performances. British filmmaker Mary Stark’s artistic roots are in textile design, which she uses as inspiration for her films. Her audiovisual works experiment with the sounds of factories and recording and projection equipment. Besides making films, she also creates audiovisual installations in which she works with the human body, light, shadow, and the materiality of the filmstrip.“My approach is led by directly handling the filmstrip and considering film as a sculptural mass, exploring how it can be presented as a visible tactile material and placed centre stage.”
United Kingdom / 2016 / 17 min.