Tyto webové stránky používají soubory cookies, které nám pomáhají zlepšovat naše služby, personalizovat reklamy a analyzovat návštěvnost. Používáním našich stránek s tímto souhlasíte.
Více informací

25th Ji.hlava International Documentary Film Festival

ji-hlavadok-revuecdfEmerging producersInspiration Forum
A house
A house
A house
A house

A house

director: Judith Auffray
original title: Une maison
country: France, Switzerland
year: 2019
running time: 81 min.

synopsis

An observational documentary that focuses on the Tentative Association, which helps young people with autism develop independence and socialization skills. Seven autistic people live in a big house and, together with their helpers, they fill their days with household tasks. Community coexistence offers a way for the inhabitants of the house to achieve their desired goals and the sharing of everyday work becomes the primary source of narrative. The film is a careful observation of life in this house. Actions and behaviors speak for themselves, giving space to the primary figures, not to those who make decisions about their lives.

 

"Thanks to the camera, I was able to get close to the inhabitants of the house. It acted as a kind of a screen between us, a way to avoid direct contact - which is problematic for some autistic people. When I looked at the LCD screen or directly into the optical viewfinder, I was able to really get close to them, which would be impossible with a direct gaze.” J. Auffray, FID interview

biography

French director Judith Auffray studied film at HEAD Géneve. Between 2016 and 2019, she shot several films in the area of the Cevenny Mountains, where A House takes place. The film is her feature debut.

more about film

director: Judith Auffray
producer: Delphine Jeanneret, Judith Auffray
photography: Judith Auffray
editing: Judith Auffray
sound: Judith Auffray

other films in the section

Long Live Hunting!
Three real hunters lure viewers on an exotic safari, on their search for trophies, and to their deer stands in the woods. With a brisk polka tempo, the film presents various hunting techniques and the protagonists’ varied personal relationships to hunting. The filmmaker sets out after the scent of animals in the greenery, and with hyperbole and exaggerated poeticism shows the entire hunting process from luring the animals to their gutting and final ingestion. This concisely constructed documentary essay takes aim at Czech hunting, but to the hunters it doesn’t make much difference. DETAIL: “Today’s city people are so spoiled by their time. They could be traumatized by it internally, but death has always been an integral part of everyday activities and everyday life. To deny the phenomenon of death means creating an artificial view of life. It’s not killing – it’s the deliberate ending of a life.”

Long Live Hunting!

Jaroslav Kratochvíl
Czech Republic / 2014 / 68 min.
section: First Lights
World Premiere
Connatural
This documentary, shot on black and white film, is an excruciating meditation on living close to death, which is nonetheless an inseparable part of life. Three generations of women live in one home, away from other people: an ageing mother, her two daughters, and her granddaughter. In long, slow shots, we see ordinary, regular actions that make up their day: braiding hair in the morning, cleaning the mother’s feet, reading the evening prayers. Lyrically stylized scenes depict their lives as an endless succession of moments of solitude, but which in their sequence and repetition gain strength, approaching analogy in the surrounding beautiful but inert nature.“Connatural stems from a need to express a series of emotions and thoughts related to the human condition. It delves into universal issues that are not usually represented as the experience of old age, everyday life and closeness to death.” J. Bellido

Connatural

Javier Bellido Valdivia
Peru / 2018 / 83 min.
section: First Lights
World Premiere
Through Foreign Eyes
Mykaela Plotkinova thought of making this poetic, mosaic documentary in a bookshop, when she came across the words of poet Manoel de Barros about “the accent of the place of our origin we carry in our eyes”. She never found the quote again, but in the course of the next few years, she carried out the project with the help of other contributors, mainly the editor C. A. Saquieres. She created a film essay combining reflections on the identity and ethnic roots of several natives of the Brazilian city of Recife, who live abroad, and the images of the places where they live.„I’ve never not felt like a foreigner, but neither did I really know where I came from. Through Foreign Eyes searches for a story that no-one has ever really told me. This film is a must for me. A film that is made to understand life.“ M. Plotkin

Through Foreign Eyes

Mykaela Plotkin
Brazil, Argentina / 2018 / 74 min.
section: First Lights
World Premiere
Gevar's Land
This portrait follows the daily life of Syrian Gevar, who left for France with his family and wants to apply for asylum in Reims, in the northeast of the country. Back in his homeland, Gevar’s passion was tending his garden and he is determined to pursue this hobby in a new place. He rents a small plot of land in the suburbs to spend time with his family. The film is not just about Gevar's passion for gardening, but it also shows from a completely different perspective the reality of war refugees’ lives in a new country and the hardships associated with applying for asylum, language barriers, and the difficulties with finding a job and supporting a family. "Gevar’s land explores the question: how do the land - by working it, by farming it - forge an organic tie between a man and a space ?" Q. Barhamji
personal program

Gevar's Land

Qutaiba Barhamji
France, Qatar / 2020 / 78 min.
section: First Lights
International Premiere
Ghosts: Long Way Home
Picturesque Portuguese countryside is rich in legends about supernatural creatures, souls and witches who guide the locals through their everyday lives, helping them resist the hectic pace of modernity. The author meets the ghost of his late grandmother Marie, who tells him about his family history and mysterious stories imbued with rural superstitions and spirituality. Vivid, sunny images of rural idyll and seemingly real-life dialogues blur the line between a documentary ethnographic study, a family archive and a live-action film about unexplored Portuguese mythology and its thriving tradition. “I wanted to create a fantastic world. I enjoy creating such a world removed from reality, because I feel that my grandmother's beliefs and myths are part of a fantastic world.” T. Siopa
personal program

Ghosts: Long Way Home

Tiago Siopa
Portugal / 2019 / 119 min.
section: First Lights
International Premiere
27 Times Time
Documentary filmmaker Annick Ghijzelings used her visit to Polynesia to shoot a personal meditation on the phenomenon of time. She slowed down the smooth flow of time in order to consider, in 27 short fragments, the various ways time can be represented. She does so by combining poetic narrative with images of the past and slow-motion shots of nature and local life. Gradually, she puts together a multilayered image of time that questions the boundaries between art, science, and philosophy, between advanced civilization and native cultures, and between the past, present, and future."The stories never subscribe to explanations or expert digressions. They are off-camera, barely pronounced, they are whispered in our ear like a secret between friends that beckons sharing."

27 Times Time

Annick Ghijzelings
Belgium / 2016 / 73 min.
section: First Lights
International Premiere
Motherlands
The refugee crisis through the eyes of a smuggler. Modern Odyssey lined with railway embankments, sleepers, darkness, the atmosphere of danger, and disappearing hope. A journey across the continents for peace, freedom and seeming prosperity brought Hervé to Europe. He buried his original motherland, Ivory Coast, under the traumatic memories of war. His new home is a shabby Greek apartment where he can live his illegal life with his newborn and Greek girlfriend. A five-year-long look into the life and conscience of a man whose existence is unexpectedly moving in a direction where the line between the moral and the amoral is as blurred as the footage of raids shot by the terrified director.     „What is morality when you have no choices? What is ethical when you have no rights? Can we be judged? And if so by whom?“ G. BabsiYou can watch the director’s introduction HEREQ&A with the director Gabriel Babsi: 
personal program

Motherlands

Gabriel Babsi
Hungary, Romania / 2020 / 73 min.
section: First Lights
World Premiere
Interregnum
The whole world experienced it. Empty streets. A restricted social life. Listening to news reports about increasing numbers of infected and dead. A slow return to the norm only after several months. The first people in the streets and the first stroll through the city. Because of the declared state of emergency and mandatory quarantine requirements, Fernando was stuck in Barcelona and César in Santiago. Together, they have created a penetrating film collage from their everyday impressions during the days of stagnation and uncertainty and from the letters they exchanged between March and May 2020. The leitmotif of their Covid correspondence is the desire to move about freely and a search for fixed points. One of these is a deep friendship. "Fragile and uncertain, like the era of the pandemic, the film emerges as a dialogue from the domestic, as an act of resistance that starts from the real and opens up to the possibility of reversing it" C. Souto Vilanova, F. Gómez-Luna  Q&A with César Suoto Vilanova, Fernando Goméz-Luna:  
personal program

Interregnum

César Souto Vilanova, Fernando Gómez-Luna
Spain / 2020 / 79 min.
section: First Lights
World Premiere
Noiseless, Desert Extras
Since the dawn of cinematography, the Moroccan city of Ouarzazate has been a lively center where extras for films with an Arabic theme are found in abundance. This poetic documentary, intentionally using acknowledged staging, shows how the electrifying energy of film flows through the local population. In this “game for real”, the filmmakers deconstruct film as an imitation of life, but one that becomes more than real for the interviewed film extras. This story presents the totality of moving images from a location where you would definitely never look for it."We are concerned about ideologies and fantasies that shape singular communities. In Noiseless we decided to build pictures with the extras of Ouarzazate to reflect on cinema's illusions." G. Lepore, Maciek and Michał Madracki

Noiseless, Desert Extras

Michał Mądracki, Maciej Madracki, Gilles Lepore
Poland, France, Morocco / 2017 / 64 min.
section: First Lights
European Premiere
God Straightens Legs
At the center of this observational documentary stands the director's mother, Renée, bedridden with an insidious disease. With respect for her mother’s devotional faith, the atheistic-minded filmmaker captures a woman who for religious reasons refused to undergo traditional chemotherapy and waits for a miracle between the walls of her bedroom . While outside the window of the woman's room life goes on day after day, the camera patiently follows the protagonist during her normal activities with which she whiles away the hours - watching TV, talking with friends, praying with a friend, meeting with nurses, as well as routinely cleaning the house."Dealing not only with the trauma of her diagnosis but also with societal reproach for her decision, I wanted to make a portrait of my mother without judgement, instead with empathy, curiosity and patience." J. Walinga

God Straightens Legs

Joële Walinga
Canada / 2018 / 67 min.
section: First Lights
International Premiere
FREM
The film is a reaction to the current wave of post-humanist thinking caused by the development of technology and artifi cial intelligence as well as the climate crisis. The human species is beginning to realize its insignifi cance and transience, and human identity has found itself in a crisis. The fi lm FREM attempts to refl ect this feeling and creates a dehumanized and alienated view of landscape and nature beyond human perception of reality. Incomplete thoughts and fragments of dialogue, diverse music interrupted by rushes and glitches, and the seemingly confused, unanchored camera, create a disturbing, philosophical refl ection on the limits of anthropocentric thinking. "Making this film was an extreme experience, in every aspect, not only physical, since we shot in Antarctica. I had to think un-thinkable. Leave the prison of anthropomorphism behind. Stop being human." V. Čákanyová

FREM

Viera Čákanyová
Czech Republic, Slovakia / 2019 / 73 min.
section: First Lights
World Premiere
Sand and Blood
The film takes a look at the recent history of two Middle Eastern countries torn by war – Iraq and Syria – from the perspective of local residents who have made the decision to flee their homes and seek asylum in Austria. It’s made up of a montage of conversations with refugees and amateur videos and images from various social networks and online platforms depicting events in both countries. Sand and Blood links individual stories and histories which are intended to awaken a deeper interest in the topic. Instead of a political film, the director considers his work to be something like a painting or poem. „A film that forces the viewer to question the very nature of good and evil, victim and perpetrator.” M. Krepp

Sand and Blood

Matthias Krepp
Austria / 2017 / 90 min.
section: First Lights
East European Premiere
Ministerstvo kultury
Fond kinematografie
Creative Europe
Město Jihlava
Kraj Vysočina
Česká televize
Český rozhlas
Aktuálně.cz
Respekt