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24th Ji.hlava International Documentary Film Festival

ji-hlavadok-revuecdfEmerging producersInspiration Forum
Talks with TGM
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Talks with TGM
Talks with TGM
Talks with TGM
Talks with TGM
Talks with TGM
Talks with TGM
Talks with TGM

Talks with TGM

director: Jakub Červenka
original title: Hovory s TGM
country: Czech Republic, Slovakia
year: 2018
running time: 80 min.

synopsis

Another contribution to the specific subgenre of animated history by the scriptwriter Pavel Kosatík. On 26 September 1928, Karel Čapek and President Masaryk meet in the gardens of Topolčianky castle to decide about the fate of their joint literary work. Their fiction film dialogue is based on quotes from a future book and their mutual correspondence, considerably freeing the original format of literary conversation from binding conventions. Čapek and Masaryk reproach and offend each other, but they also ask key personal questions and questions about the social functions of a writer and politician respectively.

“It’s a film about two extraordinary men; it’s about the fact that emotions can be sometimes more powerful than ideas even in such exceptional people.” J. Červenka

biography

Jakub Červenka (1983) has been a film producer until now. He worked on TV documentaries such as We Are Not Angels, We’re Just Doing Their Work (2006), ROM. ID (2010), The Infant Jesus of Prague (2011), and produced the puppet film The Little Man (2015). He also works in advertising and makes video clips, mostly for hip-hop artists such as Supercrooo and Moja reč.

more about film

director: Jakub Červenka
cast: Martin Huba, Jan Budař
producer: Jakub Červenka, Petr Kratochvíl
script: Pavel Kosatík
editing: Martin Palouš
sound: Josef Mašek

other films in the section

Passengers
The film’s director sees her four protagonists as passengers along for the ride. She started to follow them just before they left the children’s home where they grew up, and spent the next six years following their lives. The return to a non-functioning family environment often also means the return to established patterns, lack of a future, and unstable social relations. The film is an indirect indictment of the country’s institutionalized care system, which manages to look after children as minors but fails to properly prepare them for the transition into adulthood.„What is it like to sit in the back seat of your life?“         

Passengers

Jana Boršková
Czech Republic / 2018 / 78 min.
section: Czech Joy
World Premiere
Albertine Gone
This updating of the sixth part of In Search of Lost Time explores the current identity of Proust’s book. Through a staged docu-fictions with elements of performance art, the filmmaker strips the text, quoted by an employee of a fire station, of its period references, thus giving it new attributes. Since 1993, Véronique Aubouy has been filming people reading various parts of Proust’s masterpiece of literature. The planned date of completion for her monumental project, which sees the protagonist as an object in a cinematic landscape and the book as a signpost of various interpretations, is in 2050."Since my discovery of Proust’s Recherche I'm convinced  that this book is an expression of the Here and now. When I met Jean, fireman, nurse anaesthetist who had read la Recherche during his night guards, the film was there, here and now." V. Aubouy

Albertine Gone

Véronique Aubouy
France / 2018 / 34 min.
section: Opus Bonum
International Premiere
Czech Journal: Children of the State
A great wave of criticism was aroused in 2011, when the Norwegian Child Welfare Services, Barnevernet, took away both of the Micháleks’ sons. The documentary director, who has two children of her own, set out to Norway to discover whether the state is indeed dictating how parents should raise their children. This investigative documentary uses individual stories and interviews with experts to reveal that the issues are much more complex than the way they are presented by the Czech media. Although the defined rules may be restrictive, they are also apparently one of the reasons why Norway is ranked as one of the happiest countries in the world. “Do what degree do we overlook cases in our surroundings, when parents are not able to handle the raising of their children? Are we respecting privacy? Or is it indifference? Are we able to view the state as other than a necessary evil?” I. P. Miloševičová

Czech Journal: Children of the State

Ivana Pauerová Miloševič
Czech Republic / 2017 / 57 min.
section: Czech Joy
World Premiere
Czech Journal: Don’t Take My Life
One day, documentary filmmaker Andrea Culková learned that she faced attachment of assets because of a minor error that she learned about too late. She thus became one of the many people to find themselves caught in a debt trap. In her contribution to the Czech Journalseries, Culková delves into an examination of the phenomenon of debt, debt recovery, and debt payments in Czech society from a personal as well as investigative viewpoint. She interviews various actors in the field, from debtors to the Minister of Justice, attends conferences of debt collectors, and explores how the issue is addressed in other countries."You can’t just take my film from me!!!!"

Czech Journal: Don’t Take My Life

Andrea Culková
Czech Republic / 2016 / 63 min.
section: Czech Joy
World Premiere
Metaphysics and Democracy
On average, our eyes remained fixed on an advertisement for six seconds. Advertisements are probably the most common ideological channel that we encounter in visible form. Director Luis Ortiz has based his documentary film on this contrast à la thèse. The visual aspect of the film is made up of 57 one-minute static views of advertising. The soundtrack features texts that challenge the existence of ideology as such (the Borges story Tlön, Uqbar, Orbis Tertius) and draws attention to the fact that we often confuse it with ontology (the critics of neoliberalism, such as Ignacio Ramonet and Noam Chomsky).“In times of political extremism I find it necessary to ask which mechanisms undermine democracy in the so called modern societies, then new progressive answers are needed to confront the simplistic discourses from the right.” 

Metaphysics and Democracy

Luis Ortiz
Germany, Colombia / 2016 / 59 min.
section: Opus Bonum
World Premiere
Time Splits in the River
Four artists decide to make a film where apolitical parents play parts of dissidents from the 1980s. Later, they show them the footage, unfolding discussions about art and politics. A  fascinating conceptual therapy revolving around traumatic  events of the history of Taiwan combines a highly artistic style with the informal, echoing, in the best possible sense, the saying ‘the personal is political’. Idiosyncratic, half-improvised ‘performances’ of the protagonists, who embody a story fromthe life and work of writer Shi Mingzheng, and the visual side of the film, just as poetic as it is funny, make this film a highly personal experience that is difficult to categorize.“Through re-enacting the social minority’s experiences , the filmsheds light on new negotiations between the social majority and other dissidents, while exposing the impossibility of family communication.”

Time Splits in the River

Yu-Ping Wang, Chia-Hung Lee, I-Chieh Huang, Xuan-Zhen Liao
Taiwan / 2016 / 89 min.
section: Opus Bonum
International Premiere
Viva Video, Video Viva
Today, analogue video is attractive primarily thanks to the distinctive aesthetic quality of its pixelated image and raster errors. But for Czech artists who first explored the possibilities offered by video art in the late 1980s, this medium represented a path towards freedom. Through a portrait of her grandfather Radek Pilař, one of the pioneers of Czech video art, the director explores her own legacy of imperative creative fascination. Her film’s main story, i.e., the process of reconstructing the 1989 exhibition Video Day, contrasts this enchantment with life in the final days of the totalitarian regime, which different sharply with the adventures of those who decided to emigrate – whom the filmmaker also visits in order to discover forgotten works, get to know their creators, and re-establish broken ties.  “’The computers, which are here with me, quietly tell me they want me to understand them, to live with them. Because we will live with them. But either they’re devils, or they will be gods.’ Radek Pilař.” A. Komrzý
personal program

Viva Video, Video Viva

Adéla Komrzý
Czech Republic / 2018 / 85 min.
section: Czech Joy
World Premiere
Carousel
A chrono-photographic visit to the museum in the age of its digital reproducibility. This is the director’s characterization of Carousel, a film that skirts the boundary between documentary and visual art. Using un-commented images, the film correlates the museum space, its visitors, and digital recording technology. Using changing film speeds, visitors become ghosts, their movement becoming the most fundamental element, dictated more by a need to document everything with the camera than a desire to actually view the exhibited objects. The film’s conclusion shows that the most remarkable exhibits at museums today are their visitors."You don't have to see. You don't have to feel. You don't have to share. You just have to follow the guide, turn around and admire." A.Gerber

Carousel

Arnaud Gerber
France, Germany / 2018 / 35 min.
section: Opus Bonum
World Premiere
I Want You If You Dare
Single mother Martina raised twin girls, one of whom was born blind and the other with polio, leaving her disabled. Both children are now adults, and disabled Jana would love to leave her mother and live on her own in institutional living. And she would also like to experience sex, perhaps with a paid assistant. The documentary offers a brutally unsentimental view into the life of an impoverished rural family with two permanently disabled members. It delicately captures both everyday and exceptional situations, focusing mainly on the personal, emotional and relationship problems between the protagonists.  „The harder the fates I make films about, the more I appreciate when my heroes can laugh at them. And when I can make the audience laugh well, I am happy.” D. Smržová
personal program

I Want You If You Dare

Dagmar Smržová
Czech Republic / 2019 / 84 min.
section: Czech Joy
World Premiere
Until Porn Do Us Part
Eulália, a religious and conservative sixty-something woman, must come to terms with a difficult period in her life. Her son has emigrated to Germany, where is a gay porn star. Eulália spends ever more time on Facebook scanning his profile and writing long, mostly unread messages. This dramatically structured observational documentary touches on a number of contemporary issues, including the crisis of the traditional family, how social networks are changing interpersonal relationships, and society’s views of homosexuality and pornography. An unobtrusive look at the LGBT community, humility, and the strength of motherly love."God heard my prayers / He gave me a lovely son / I'll never trade him for anything / Not even for the biggest treasures / Even if I have to spend / My whole life suffering..." J. Pelicano

Until Porn Do Us Part

Jorge Pelicano
Portugal / 2018 / 90 min.
section: Opus Bonum
World Premiere
llllllIIIIl
The film’s title can be seen as an anti-captcha, a text that is easily machine-read but difficult for people to understand. Working in the style of a documentary essay, the film considers the problem of the autocracy of machines. Apocalyptic visions inspired by the film The Terminator are projected onto the reality of destructive protests against the G20 Summit, whose catalyst, means and outcome are statistical analyses of behavioural models realized using the computers and telephones in our pockets. A collage of original images, commented graphs and internet garbage. For the full viewing experience, please have your smartphone ready. “This text can’t be longer than 200 characters. That’s 60 more than a tweet by Donald Trump.” P. Salaba

llllllIIIIl

Petr Salaba
Czech Republic / 2017 / 27 min.
section: Czech Joy
World Premiere
Katyusha: Rocket Launchers, Folk Songs, and Ethnographic Refrains
What is the effect of an overheard melody, especially when it sounds almost painfully familiar? In a house full of personal photographs and to the sound of a barrel-organ melody, the film’s director explores the history of her family, which was forced to flee from the Soviet Union before the Second World War. This experimental anthropological film is a mediation on the shared experience of song and the phenomenon of memories associated with popular melodies. As if fired from the eponymous rocket launcher, the artificial folk song Katyusha soared through civilizational skies to become the soundtrack of more than a few human tragedies.“Conflating years of research, archival digging, and excerpts from familial, institutional, and other collections, Katyusha is an experimental documentary that ruminates on the circulation and constructions of cultural memory and national(ist) narratives.” 

Katyusha: Rocket Launchers, Folk Songs, and Ethnographic Refrains

Kandis Friesen
Canada / 2016 / 38 min.
section: Opus Bonum
International Premiere
Ministerstvo kultury
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