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24th Ji.hlava International Documentary Film Festival

ji-hlavadok-revuecdfEmerging producersInspiration Forum
Who's Afraid Of RGB
Who's Afraid Of RGB
Who's Afraid Of RGB
Who's Afraid Of RGB

Who's Afraid Of RGB

director: Billy Roisz
original title: Who's Afraid Of RGB
country: Austria
year: 2019
running time: 9 min.

synopsis

Another contribution of this authoress to the reflection of genre films, this time dealing with romantic melodrama, confronts the expressive character of the film medium with the viewers’ perception in radical juxtapositions of eyes closely observing the movie Who’s Afraid of Virginia Woolf? and spots of red, green and blue colours that bite into them accompanied by harrowing noises and music.

Who's Afraid of RGB plays with self-referentiality in art, with the relation between artwork and viewer, references to other works of art and to scientific fields, as here to psychophysiology.” B. Roisz 

biography

Austrian multidisciplinary artist Billy Roisz (1967) has been creating video & sound art and performances since the 1990s. In her experimental work, she deals with issues of interactions between image and sound and their perception. Her means of expression partly include light effects and trembling image, which contribute to creation of abstract compositions. In 2014, Ji.hlava IFDF screened her film darkroom.

more about film

director: Billy Roisz
producer: Billy Roisz
photography: Dieter Kovacic
music: Billy Roisz, Susanna Gartmayer

other films in the section

Impact-9.2
The filmmaker arranges 59,049 personal photographs (out of the long-term project) from 2002 and 2003, all of them created in the post-9/11 atmosphere, into repetitive geometric compositions to form a changeable structure of infinite possibilities for interpreting memories. Set to a musical composition inspired by Thomas Hardy’s poem “The Comet at Yalbury”. German-born filmmaker Thomas Mohr (1954) lives in the Netherlands. In his work, he seeks out new ways of generating images. Originally, he was drawn to abstraction; today it is digital photography. The Jihlava IDFF previously showed his film Gedankenstrich(e) (2014), in which he arranged images into regular grids to evoke a journey and pilgrimage across a landscape of text.“What d o we remember, what d o we forget and what d o we really learn? Based on 531,441 pictures taken in 30 years I’m exploring how our memories transform into experience.”

Impact-9.2

Thomas Mohr
Netherlands / 2016 / 10 min.
section: Fascinations
World Premiere
The Escape Agents
A re-construction of the illegal smuggling of a family across the border from East to West Berlin in 1988. Told in photographs, the film shows a chilling story of escape in the trunk of a car and an encounter with agents of the East German secret police. The images’ unknown origin adds a sense of the universal and calls into question the course of events.  "While researching my first feature, I stumbled across these photos in the Stasi archives and decided to try to make a story around them. I was shocked when I found out the true identity of the people " S. Calonico  

The Escape Agents

Scott Calonico
United Kingdom, German Democratic Republic, Germany / 2018 / 5 min.
section: Fascinations
World Premiere
Dead End, rewind reversal
This inventive experiment with a stereo 3D image follows a train track ending at a ruined bridge and then back again through the forest. The focus is on the spatial perception of diverse depictions of the journey laid side by side, captured with a film camera and confusing the eye of the viewer with various overlays and inversions of time levels. “Stereo3D films shall be done such a kind that they make no – or another – sense if they where only in mono2D. What we know from flat filmmaking is no help. So filmmakers have to start from scratch again and spectators too.”

Dead End, rewind reversal

Björn Speidel
Germany / 2016 / 11 min.
section: Fascinations
World Premiere
Exhumation
Desire without its object is like an image made unrecognizable by cutting out its parts; by scratching away part of the visible image, the image becomes a hole sliced into a pained body, fumbling about for what is missing, seeking physical contact and tangible proof of co-existence.  ""Exhumation" is my interpretation of the reports of Dali's death mask recently. I worked to physically peel back layers of representation to reveal disintegrated memories of figures that once were." D. McIntyre  

Exhumation

Daniel McIntyre
Canada / 2018 / 8 min.
section: Fascinations
Central European 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
ONE-1-2
An algorithmic composition of 531,441 photographs taken over the course of three decades since 1985 place personal and societal events into various contexts to create a minimalist study of informational value, comprehensibility and memory of events. “After all: what is the nature of these moments/events : 9/11, Hiroshima, Buchenwald, political/economic conditions, art, family, coffee, tea, being here/there. After 531,441 pictures 1985–2015 a sum.” T. Mohr T. Mohr

ONE-1-2

Thomas Mohr
Netherlands / 2017 / 16 min.
section: Fascinations
World Premiere
Morphology of a Dream
A visual composition based on a study of the rhythm of sleep cycles during REM sleep. The flowing images melt into overlapping splotches of color to create shapes of fleeting sleep images at various speeds, thus reflecting the impossibility of capturing any concrete motifs.   "Connecting my observation with an intuitive way of filming, I document phenomena in the natural world to reveal evocative visual rhythms through the ecstatic clash of color and form." M. Szlam  

Morphology of a Dream

Malena Szlam
United States, Canada / 2018 / 6 min.
section: Fascinations
World Premiere
Where Shapes Come From
A description of non-randomness in the processes by which atoms join to form matter, accompanied by images from a museum laboratory. Subtle alterations to the real image are Formulas with scenes of a mineralogist’s work. Chemical equations and virtual bodies and shapes give form to the invisible processes involved in the creation of substances. “We spent an intensive three months as artists in residence in the Mineral Sciences Laboratory at the Smithsonian National Museum of Natural History; this is the work that came out. The green workshop has since been redecorated and is no longer home to all these amazing curiosities.” R. Jarman, J. Gerhardt

Where Shapes Come From

SEMICONDUCTOR
United Kingdom, United States / 2016 / 11 min.
section: Fascinations
Czech Premiere
ENOLAEMEVAEL
This remake of Man Ray’s celebrated Emak Bakia (1926), which uses a cameraless method of creating hand-processed film images in high-contrast black-and-white, refers to the original film even in its subject matter as well: continuing with the motifs of death, it works with artifacts and documents from US drone attacks on Pakistani territory in 2015. Kathryn Ramey (1967) is an American filmmaker, anthropologist, and teacher at Emerson College in Boston. Through celluloid manipulation and hand developing film stock, she creates new audiovisual forms that search for points of intersection between anthropological studies and experimental film. Her works have received numerous awards at international festivals.“Combining experimental process - es with theoretical premises and anthropolo gy, my films and installations seek to deconsecrate the ‘real’ of conventional documentary and agitate the viewer to seek out subjugated narratives in dominant media culture.”  

ENOLAEMEVAEL

Kathryn Ramey
United States / 2016 / 7 min.
section: Fascinations
European Premiere
Biblion
A visual study of the book as a medium and cultural artefact. Parallel images analyse books from the point of view of appearance and material with the film plunging into the depths of their microscopic fabric while, at the opposite end of the spectrum, the variety of their surfaces, textures, fonts and shapes blossoms into structured volumes ordered on a bookshelf. “Born from observing the phenomena of quietly vanishing old book stores, our work first became an exploration of the medium of the book itself, and then grew in to something more haunting.” E. Tammi, S. Ekström  
personal program

Biblion

Saara Ekström, Eero Tammi
Finland / 2019 / 13 min.
section: Fascinations
World Premiere
The Shifting Sands
Philosophical reflections on Israel blend into a personal struggle for identity: The filmmaker’s father came to the British Mandate of Palestine in 1946 as a Jewish refugee. The call for harmonic co-existence is imprinted in the falling grains from one image into another. Some of the scenes come from the documentary film Israel: Land of Destiny (1977, dir. Jacques Madvo).  "By constructing the film entirely with an optical printer, moving images and pictures are drawn to rhythm and meaning. The philosophical words of Martin Buber invokes the reflection upon the reality." M. Piller  

The Shifting Sands

Madi Piller
Canada / 2018 / 9 min.
section: Fascinations
European Premiere
rack-pinion (wired-glass No.4)
As the film comes undone from the projector, the perforated edges become visible and reveal the illuminated image as an imprint of light. Splotches of colour with vague meanings enter into the picture frame. “In the early 19th century, watches had a rack and pinion lever escapement. No longer used, I still find it endearing and try to create a similar beauty in my own way.” H. Kawaguchi

rack-pinion (wired-glass No.4)

Hajime Kawaguchi
Japan / 2017 / 4 min.
section: Fascinations
International Premiere
Ministerstvo kultury
Fond kinematografie
Evropská unie
Město Jihlava
Kraj Vysočina
Česká televize
Český rozhlas
Aktuálně.cz
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