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25th Ji.hlava International Documentary Film Festival

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Epicentro
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Epicentro
Epicentro

Epicentro

director: Hubert Sauper
original title: Epicentro
country: France, United States, Austria
year: 2020
running time: 107 min.

synopsis

Somewhere between North and South America, capitalism and communism, and the Soviet Union and the United States lies Cuba — regarded as a historical, geographical, and cultural intersection of various utopian visions. Although these visions have yet to be fulfilled, the people of Havana, whom Hubert Sauper chose as his guide, still cleave to them and continue to believe the stories of their ancestors. This spontaneous and melancholic travel essay confronts the unadorned reality of the impoverished island state and explores the myths its people live by. And despite the country’s long history of foreign influence, oppression, and political upheavals, these myths have ensured that the people of Cuba never lose their inner freedom.
 
 
“In Epicentro, I tried to reflect on these amazing and opposing terms, ‘utopia’ and ‘dystopia’, and thereby focused on Cuban society as a case study.” H. Sauper

Q&A with the director of Epicentro Hubert Sauper:

biography

Documentary filmmaker and traveler Hubert Sauper (1966) first studied film directing in his native Austria before continuing his studies in France, where he now lives today. He frequently returns to Africa where he also produced the investigative documentary film, Darwin's Nightmare (2004), which was nominated for an Oscar and won the Special Jury Recognition award in the Between the Seas competition section at the Jihlava International Film Festival. His poetic film, We Come as Friends (2014), also took home awards at Jihlava and a number of other festivals.

more about film

director: Hubert Sauper
cast: Leonelis Arango Salas, Annielys Pelladito Zaldivar, Oona Chaplin
producer: Martin Marquet, Daniel Marquet, Gabriele Kranzelbinder, Paolo Calamita
editing: Yves Deschamps, Hubert Sauper
music: Zsuzsanna Váarkonyi, Maximilian Turnbull

other films in the section

A Moon for My Father
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A Moon for My Father

Douglas White, Mania Akbari
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section: Constellations
Czech Premiere
Drama Girl
A genre hybrid film by Vincent Boy Kars is a docu-dramatic experiment – the main character, Leyla, is supposed to play key scenes from her life. The acted parts of the film explore Leyla’s relationships with her parents and boyfriend – played by hired actors – and the art of dance she has been studying. More emphasis, however, is placed on the parts between the scenes when Boy Kars and Leyla discuss her life and the ways to present it. Not only does Leyla relive her memories but she also has re-enact them again and again, always in another way, following the director’s instructions. The documentary highlights the constructive nature of documentary films and begs the question how drama helps us understand our own lives. “To me, this film is about developing your own way of filming. Sometimes I seem to create a new genre. I combine interesting elements of fiction and documentary, trying to develop an approach where acting and being come together.” V. Boy Kars
personal program

Drama Girl

Vincent Boy Kars
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Bulletproof
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Bulletproof

Todd Chandler
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section: Constellations
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Me and the Cult Leader  - A Modern Report on the Banality of Evil
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Me and the Cult Leader - A Modern Report on the Banality of Evil

Atsushi Sakahara
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Sapphire Crystal
Three places and three moments spent with the Geneva Golden Youth. For his documentary, the director organized a workshop with students from the prestigious HEAD School of Art and Design in Geneva to get to know the young men and women who are well-accustomed to a life of luxury and who like to kill time having long discussions in the nightclub, snorting cocaine and sipping champagne. The director sees the film as a highly subjective vision, a kind of pseudo-ethnological work in which some formal elements show hints of irony. Here he acts as an amused moralist and observer trying to break into a world riddled with lavish parties, drugs and all-pervasive vanity.

Sapphire Crystal

Virgil Vernier
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I Walk
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I Walk

Jørgen Leth
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The Wall of Shadows
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personal program

The Wall of Shadows

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Czech Premiere
There will be no more night
Small silhouettes appear in the middle of the sights, observed from afar. They move quickly but they cannot escape the quick all-seeing eye. They are monitored all the time. Despite the apparent absence of the human element we are not watching an animated film or a computer game but authentic videos from Afghan, Iraqi and Syrian missions of American and French soldiers. The silhouettes belong to real people who are only a trigger pull away from death. This is the 21st-century warfare. Everyone who can be seen is under threat. Eléonore Weber used dehumanized images of dying for her chilling reflection of the modern form of war.Q&A with the director Eléonore Weber:  
personal program

There will be no more night

Eléonore Weber
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Czech Premiere
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personal program

The First Bridge

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Of Land and Bread

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Irving Park

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Movements of a Nearby Mountain

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