25th Ji.hlava International Documentary Film Festival
We Are Without
director: SJ. Ramir
original title: We Are Without
running time: 3 min.
An unknown entity wanders through a constructed reality to the brink of nothingness - a town in the fog. The film evokes the shadows of a grainy black-and-white dystopian landscape, from which, however, we can see mere fragments, intertwined with shots of the details of male hands. Ramir’s films are characterized by his unique style, achieved through the use of special lens filters.
“We Are Without is a visual response to life, death and self-deception.” S.J. Ramir
S.J. Ramir began in film and photography, but today his focus is primarily on working with digital images. A common motif in his work is the landscape, whether real or created using 3D models. His films have also been regularly screened at the Ji.hlava Festival, most recently in 2017 with In This Valley of Respite, My Last Breath…
more about film
other films in the section
Raw and non-manipulated material documentation captures the effects of various types of radiation in the vicinity of the Fukushima power plant in Japan. The director buried a 100-foot (about 30 meters) 35mm negative film under fallen leaves alongside a country road, leaving it for about six hours exposed to the effects of the environment.DETAIL:Disordered marks and traces, representing the imprint of time between sunset and sunrise on the night of June 24th 2014, blend into the green and blue tones of the light-exposed emulsion.
sound of a million insects, light of a thousand stars
Japan / 2014 / 2 min.
The texture of minerals meticulously stacked one on top of the other emphasizes solidity but also the changes wrought by time. Some of the patterns are absorbed by others; undestructiveness is lost in transparency. The animation of the earth’s non-living surfaces and subsurfaces condenses geological transformation that in real time take millions of year.The gap between stones slowly grows, a rock is transformed as if were an organic body, a fault is quickly covered in another layer, the original colour is absorbed to create new matter.
Japan / 2012 / 10 min.
East European Premiere
The single scene at first looks like a photograph, but after patiently lingering, a gust of wind suddenly blows across the scene, lifting the tarp on the metal structure and revealing that we´ve been watching a film. Filmed in a redevelopment district, the film is director´s declaration of support for urban ekology.DETAIL:The film conceals a critical position towards redevelopment – the renovation of older buildings into new lucrative spaces for luxury living and shops, which has a significant effect on the demographic make-up of individual urban neighborhoods.
South Korea / 2014 / 5 min.
Sports activities, miniaturised in a stop-motion collage, become a symbol of national pride and public emotion. Two thousand American football fields, obtained from Google Earth’s satellite images, all with the same dimensions, help to create a fast game of organised images.DETAIL:Through the inclusion of a list of football teams, the compilation of graphical compositions also draws attention to the symbolism found in fandom.
Gerco de Ruijter
Netherlands / 2014 / 4 min.
Central European Premiere
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
La Notte Salva
Germany, Italy / 2019 / 12 min.
FilmLOCOMOTION references Edward Muybridge’s famous Animal Locomotions in order to create a study of a running dog. The images, shot using extreme slow motion, are organized using various mathematical functions. Careful observation is gradually transformed into a montage that plays with the dog as with a marionette.
Austria / 2010 / 6 min.
Central European Premiere
Twilight removes details from the view of a mountain landscape, where an orchestra, with the help of living musical notes – children with music scores attached to their backs – plays Mahler’s 8th symphony. The figures move in a careful choreography so that they fade in harmony with the decomposition of music and fading distinguishability of the pictorial composition on which darkness falls. DETAIL:Austrian composer Gustav Mahler was born in the Czech Highlands (Vysočina). He composed his Symphony No. 8, nicknamed the “Symphony of a Thousand”, in 1910, and dedicated it to his wife Alma with the inscription “Just imagine - the universe is starting to resound and be heard.”
France, Italy / 2014 / 19 min.
FilmUFO presents a sci-fi documentary about an alien civilization that has come to colonize Earth. The film is proof that all it takes to make the unearthly seem real is a change in viewpoint, length of exposition, or level of contrast. An uninviting vision of meeting and otherness, in an unreal projection of ordinary places.
Yin-Ju Chen, James T. Hong
Germany, Netherlands, Taiwan / 2010 / 16 min.
FilmTREE projects personal dramas onto the calm of nature – for instance, an image of a falling tree. These dramas stake out a space of anxiety and sadness, the empty space left behind by a person who is no longer there. Natural poetry in fields of color gives us the impression of a landscape in which chaotic compositions alternate with images of calm skies and expansive fields.
Finland / 2010 / 6 min.
FilmLEAF creates a herbarium of a photogenic garden amidst a snow-covered city. By looking closely at individual plants, the film engages in a precise study of shapes and colors; its romanticized mood reminds us of films that make use of objects glued directly onto the film.
In the Conservatory
United States / 2010 / 7 min.
A game with spatial planes and narrative layers, spread out in one frame, an ironic polemic with the conventional ordered arrangement of scenes. This 3D movie is a humorous allusion to the theories of an American parapsychologist known as the full field method. In the 1970s, he wanted to use this method to show the possibility of telepathy by depriving a subject of several of his senses, thus allowing him to concentrate on the possibility of sending and receiving thoughts and images.
Nadia Ranocchi, David Zamagni
Italy / 2011 / 5 min.
Central European Premiere
The translucent, pulsating body of the moon jellyfish (Aurelia aurita) presents a choreography of white veils communicating through slight touches. The moon jelly differs from other jellyfish in that it does not have long, stinging tentacles, which may be one reason why Arthur Miller compared mankind to how they float in the incoming and outgoing tide. This hand-developed film pays homage to the poetic popular science films of Jean Painlevé.
The Tide Goes in, the Tide Goes out
Canada / 2012 / 6 min.