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24th Ji.hlava International Documentary Film Festival

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Afterimage

Afterimage

director: Myun Yi
original title: 적 (迹)
country: South Korea
year: 2016
running time: 3 min.

synopsis

A frozen frame of a ten-lane boulevard lined by skyscrapers comes to life with past (or future?) movements, cars, advertisements, and people whose distinct as well as subtly visible traces struggle with the image’s punctum for an urgent actuality and the non-linearity of time, which moves forwards and back. Korean director Yi Myun (1973) studied musical composition. He lives in Seoul, where he works as a composer and video artist. The Jihlava IDFF previously showed his short film Field (2014), which explored themes of urban ecology. His films often combine traditional music-based soundtracks with melancholy views of urban landscapes that seem to live their own lives independent of human beings.

“적 is the Korean title of this film and the sound of the word has diverse meaning in Chinese characters. It means: target, enemy, be right, build, trace, silence, advance, achievement, tread, watch, expose, angry, meet and fear.”

biography

A frozen frame of a ten-lane boulevard lined by skyscrapers comes to life with past (or future?) movements, cars, advertisements, and people whose distinct as well as subtly visible traces struggle with the image’s punctum for an urgent actuality and the non-linearity of time, which moves forwards and back. Korean director Yi Myun (1973) studied musical composition. He lives in Seoul, where he works as a composer and video artist. The Jihlava IDFF previously showed his short film Field (2014), which explored themes of urban ecology. His films often combine traditional music-based soundtracks with melancholy views of urban landscapes that seem to live their own lives independent of human beings.

more about film

director: Myun Yi
producer: Myun Yi
photography: Yi Myun

other films in the section

CAMERA (Notes on Film 10)
A meditation on surveillance, dramatized by a person having panic and anxiety attacks in a white room with no doors or windows. The filmmaker reflects on the omnipresence of seemingly inconspicuous observation. The impossibility of a hidden camera’s objectivity is emphasized by reactive changes in its angle of view when the person attacks it. Austrian filmmaker and curator Norbert Pfaffenbichler (1967) is a pioneer of video art and a founding member of the VIDOK art group. His works often combine electronic music and abstract projections. Pfaffenbichler was the curator of the important group exhibition Abstraction Now at the Künstlerhaus in Vienna (2003), which worked with computergenerated sounds. Previously at Jihlava IDFF, he showed his film Intermezzo (Notes on Film 4) (2012).„Camera is a short étude on the topic of the invisible camera. it is part of my ‘notes on film-series ’ which deals with different topics from the history and theory of film.”

CAMERA (Notes on Film 10)

Norbert Pfaffenbichler
Austria / 2015 / 13 min.
section: Fascinations
Czech Premiere
Obatala Film
An anthology of rituals, masks, skin paintings, and other decorations, captured from up close in Ile-Ife, the legendary holy city of the Yoruba, who live primarily in southwestern Nigeria but also in some parts of Latin America and who consider the god Obatala to be the creator of Earth and of human bodies.  "I understand my cinematic practice as an inquiry into modes of experience and as a gesture of channeling. One of them could be the state of devotion and possession by spiritual and cosmic forces. " S. Wiedemann  
personal program

Obatala Film

Sebastian Wiedemann
Nigeria, Brazil, Colombia / 2019 / 7 min.
section: Fascinations
International Premiere
Heavy Eyes Remastered
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.
section: Fascinations
World Premiere
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
La Notte Salva
Tiny animals of different kinds were filmed by night and then magnified under semi-transparent spherical glasses. The activity of constantly moving organisms subjected to magnification results in unexpected images of unrest, changeability, migration and creativity in altering shapes. „La notte salva is a path of sensations that attempts to gather around its nature without revealing it, without opening itself to any human language.“ G. Boccassini
personal program

La Notte Salva

Giuseppe Boccassini
Germany, Italy / 2019 / 12 min.
section: Fascinations
World Premiere
Extrastellar Evaluations III : Entropy : 25800
The melancholic atmosphere of wandering a landscape scarred by kitschy disco rainbows and colorful illustrations opens up the possibility of an extra-planetary consciousness sending a message in which references to the laws of thermodynamics and Mayan symbolism encounter critical interpretations of an expected confrontation between humanity and the cosmos.   "‘IT‘ knows." Yin-Ju Chen

Extrastellar Evaluations III : Entropy : 25800

Yin-Ju Chen
Taiwan / 2018 / 17 min.
section: Fascinations
Central European Premiere
Cry Havoc
A mass of protestors in remediated scenes, a becomes an expression of the strength and passion of the crowd, while dynamic abstractions and visual shifts show changing interpretations of people´s expressions within a crowd and of their reasons and objectives for protesting, all in a lightning-fast onslaught of media images. “Cry Havoc is part of a long-term research project in which video works process images of violence and protest from TV and online news media, studying the complex nature and impact of these images, and looking for new aesthetic forms.” G. Silberstein

Cry Havoc

Guli Silberstein
United Kingdom / 2017 / 5 min.
section: Fascinations
World Premiere
Displacement
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     
personal program

Displacement

Guli Silberstein
United Kingdom / 2019 / 5 min.
section: Fascinations
World Premiere
Phantasma
In rhythmically changing parallel scenes, this visual atlas of the underwater world shows animals and their natural movements, waving plants and growing crystals, but also the rooms, machinery and equipment at the Copenhagen aquarium that has exhibited these living being for more than 70 years. “While filming I was pulled into a melancholic and haunted realm. The collapsing aquarium became an allegory of a shared past and time itself. It represents an enchanted place where both the struggle to remember and to forget intertwine.”

Phantasma

Saara Ekström
Finland / 2016 / 9 min.
section: Fascinations
World Premiere
The End of Time
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

Milcho Manchevski
Cuba, United States / 2017 / 5 min.
section: Fascinations
Czech Premiere
The Image that Spits, the Eye that Accumulates
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

Rhea Storr
United Kingdom / 2018 / 11 min.
section: Fascinations
World Premiere
I Would Leave Everything Here
The patient observation of the four seasons – daytime and nighttime events, manifestations of the natural elements, and the peacefulness of minimalist images – as seen through the window. A dramatic compilation of images into an extraordinary record of the ordinary flow of time. Croatian filmmaker, photographer, and audiovisual artist Ivan Faktor (1953) has been making art since 1975. In 1995, his film At Home was shown at the Venice Biennale, and he also represented his home country at the São Paulo Art Biennial. The Jihlava IDFF previously showed his film Self-Portrait (2006), in which a camera inside the filmmaker’s body records a journey through the human body in the form of abstract images, shadows, and rhythms.“... for here I would leave this earth and these stars, because I would take nothing with me from here, because I’ve lo oked into what‘s coming, and I d on‘t need anything from here.” (László Krasznahorkai)

I Would Leave Everything Here

Ivan Faktor
Croatia / 2016 / 11 min.
section: Fascinations
International Premiere
Ministerstvo kultury
Fond kinematografie
Evropská unie
Město Jihlava
Kraj Vysočina
Česká televize
Český rozhlas
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