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23rd Ji.hlava International Documentary Film Festival

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Boy of War
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Boy of War
Boy of War

Boy of War

director: Cyprien Clément-Delmas, Igor Kosenko
original title: Boy of War
country: Germany, Czech Republic
year: 2018
running time: 79 min.

synopsis

Artiom is 18 years old and has just one wish: to go to war and fight for his homeland, Ukraine. Everything else comes second. He dresses in camouflage, watches war videos online, and in his free time practices battle scenes with his friends. Or at least they think they are battle scenes. As a child, he only sees the surface of the war. And he has the bad luck that the fighting rages so tantalizingly close. This observational documentary is a fascinating study of the cult of war in a post-Soviet setting where those who succumb to the allure of battle are the least suitable and least predisposed to fighting – a fact perfectly illustrated by Artiom’s final struggle with the reality of war.

"War is not about weapons, tanks or bombs. War is in the mind of the soldiers, the leaders and the crowd. It excites theirs souls, captivate their lives, strikes their imagination…before destroying them. War is a state of mind." C. Clément-Delmas

biography

French photographer and filmmaker Cyprien Clément-Delmas (1986) has directed several short films and music videos. He is also involved in various social projects focused on working with young people and marginalized groups.
Igor Kosenko (1983) is a Ukrainian cinematographer and director who attended film school with Clément-Delmas in Spain. The two previously worked together on the short film The Last Tape (2017), which was a kind of prologue to Boy of War.

more about film

director: Cyprien Clément-Delmas, Igor Kosenko
producer: Fabian Driehorst, Veronika Kührová
script: Cyprien Clément-Delmas, Igor Kosenko
photography: Ivan Castiñeiras
editing: Martin Reimers, Oscar Loeser
sound: Andrii Nidzelskyi, David Titera

other films in the section

The Things
Nearly 10 years after the conflict in Georgia, Georgian inhabitants of the Russian-occupied territory are still living in temporary camps, waiting to return home. Their dwellings are cookie-cutter houses. They brought only the few items that they managed to grab from their homes when fleeing from the occupation army. Equally austere, almost as empty as their provisional housing, they live their lives at the mercy of waiting for what is to come. In this meditative documentary, real relics of their past lives, everyday things brought from their original homes, are the most tangible manifestations of the irreversibility of time as measured by losses. “We attempted to reflect about war experience from particular perspective, to meet persons rather than statistics, to observe rather than inquire, to contemplate about something we all share - the attachments.” Nino Gogua

The Things

Nino Gogua
Georgia / 2016 / 62 min.
section: First Lights
World Premiere
Among Houses and the Cosmos
In this sensual film essay, the director has assembled her experiences with rituals in various corners of the world, from Europe across Africa to Latin America. The close interaction of the camera with bodies moving in trances encourages active involvement in the frenzied moments in which people lose themselves in Dionysian intoxication. These moments serve the filmmaker to obliterate the distance between the individual and the collective, personal and foreign, internal and external. The film, however, attaches a political meaning to the rituals, or rather shows how uprooted cultures cope with their minority status through rituals, or even turn it to their favor. “I felt the urgency to work with video footage from years of different travels. During editing, I found myself thinking about the human necessity to impose meaningful patterns on life and being.” Koštana Banović

Among Houses and the Cosmos

Kostana Banović
Netherlands, Bosnia and Herzegovina, Portugal, Senegal, Brazil, Angola, Turkey, Gambia, Cuba, Serbia, Aruba, Netherlands Antilles / 2016 / 70 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
personal program

Connatural

Javier Bellido Valdivia
Peru / 2018 / 83 min.
section: First Lights
World Premiere
On the Edge of Freedom
Moscow and Kyiv. Angela and Vlad. Two young and talented people brought together by an unusual passion for the extravagant and public conquest of forbidden parts of the city. Tall buildings, underground tunnels or freight trains are the new pastimes of a young generation yearning to get out of the rut, escape a predictable future and find fame among their peers through risky “urbex” videos. At the same time, however, the logic of social networks is turning them into a commercial phenomenon that can bring them big money – but also compel them to engage in even crazier stunts. “This is urban exploration, baby!” “This is a portrait of a new generation we rarely hear about. It is a film about the human behind an extreme phenomenon.” A. M. Hopland

On the Edge of Freedom

Anita Mathal Hopland, Jens Lengerke
Denmark / 2017 / 74 min.
section: First Lights
Central European 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
Morocco, France, Poland / 2017 / 64 min.
section: First Lights
European Premiere
Savagery
Just forty years ago, the Brazilian state of Pará was covered by rainforest. Today, it is an area where the wilderness comes into harsh conflict with the savagery of the urban population. Using several segments, a team of two French documentarians compose an especially brutal poetical mythology of a place where poachers hunt snakes that are many meters long, crowds of people look on during police murder investigations, and a mother must apologize because her adolescent rapper son insulted the local police. Using a handheld camera, the filmmakers take spontaneous shots, sensitive to both the genius loci and the unaffected interviews with local inhabitants. "We went to Pará, Brazil, at the pursuit of some sort of vision of savagery. Crossing tales, ecological themes and fantastic apparitions, we try to undo this arbitrary separation between the fascination with nature and the fear of violence." J. Le Fourn

Savagery

Jonathan Le Fourn, Rèmi De Gaalon
France / 2017 / 94 min.
section: First Lights
International Premiere
Instructions for Use of Jiří Kolář
Roman Štětina returns to the subject of radio in a documentary project created in collaboration with radio director Miroslav Buriánek. In documenting Buriánek and the members of the KLAS theater ensemble as they prepare a radio adaptation of Kolář’s poetry collection Instructions for Use, Štětina tries to explore radio directing as a distinctive but hidden artistic act. Without showing the viewer the final radio production, Štětina offers us a unique chance to witness the creative process involved in creating a radio adaptation. The voiceover features commentary on the events in the studio.“Speak, create, share geometrically. No slapped on layers of lyricism. Just sorrow and yearning. And respect the rule of the right angle.” (Miroslav Buriánek)

Instructions for Use of Jiří Kolář

Roman Štětina, Miroslav Buriánek
Czech Republic / 2016 / 130 min.
section: First Lights
World 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
Yellowing
The Hong Kong protests of 2014 known as the “Umbrella Revolution” were an expression of some people’s dissatisfaction with the restrictive interventions in local affairs by the Chinese government. The protestors, primarily young people, rejected the limitations on local autonomy made by the communist government. In his first-person participant documentary, director Tze-woon Chan and his hand-held camera become a part of events in the island city. Over the course of 20 chapters (or “memos”), the film’s young protagonists express their feelings and views of the revolution whose cruel historical momentum rolled right over them.“Hearts might change before China’s assumed complete takeover. But I made Yellowing to document the Umbrella Movement, in the hope that our initial intent and belief might be remembered and be reminded of.”

Yellowing

Tze Woon Chan
Hong Kong SAR China / 2016 / 133 min.
section: First Lights
European Premiere
The Dazzling Light of Sunset
On dilapidated theater stages, the secular rituals of contemporary Georgian society play out: weddings, fashion shows, beauty pageants, political elections. The static camera, which captures this emotionless choreography of ceremonies in wide-angle shots, contrasts with the dynamic pans of the small camera held by a television reporter whose energetic activities keep a local television station going. A series of carefully framed scenes from the events that Dariko chooses to present to her viewers is juxtaposed with images from inside the run-down television studio, which survives thanks to fees earned from reading obituaries.“It fascinated me how small stories from small towns were so much more important than the big politics. And I wondered what these small stories were.” Salomé Jashi

The Dazzling Light of Sunset

Salomé Jashi
Georgia, Germany / 2016 / 74 min.
section: First Lights
Central European Premiere
Sea Tomorrow
This observational documentary examines the disappearance of the Aral Sea and attempts at its restoration. At the location where the majority of maps and atlases show a large, majestic body of water, Katerina Suvorova finds only a largish pond and an arid wasteland, filled with the rusting remnants of wrecks waiting for scrap metal collectors. Shots of the enigmatic landscape, consisting of endless expanses of sand and dust, are alternated with captivating details. Just as fascinating is the strong will and faith of the people who have stayed in this inhospitable environment, such as old gardener, fishermen, and a hydrobiologist. They hope that the sea will return, they are fighting to save it, and they all hope for a better tomorrow. “I see people of the Aral region as a collective image of the last survivors on Earth. Their stories prove that even when the last shuttle abandons our racked planet, there will be people who stay and prefer correction of errors of the past to uncertainty of the future.” Katerina Suvorova

Sea Tomorrow

Yekaterina Suvorova
Kazakhstan, Germany / 2015 / 88 min.
section: First Lights
East European Premiere
My Name is Hungry Buffalo
Jan calls himself Buffalo. He loves cowboys, he’s blind, and may lose his hearing. Pavel Jurda’s documentary follows his journey to America to visit the chief of the Navajo tribe, who wants to perform a ritual to help his hearing. The film is full of unpretentious humor thanks to Jan’s charisma. In the USA, he’s like the Don Quixote of the Wild West - a naive adventurer in a world that is much more ordinary than his imagination. This observational, but not standoffish, film is also an example of how the medium of film can relate to blind people by constantly showing the difference between what Jan perceives and what we actually see.“The film is not about blindness, even if the main character is blind. It is about yearning for life. ‘We are all handicapped in some way,’ says a guy during a journey that starts with an accident and ends in triumph.”

My Name is Hungry Buffalo

Pavel Jurda, Radim Procházka
Czech Republic / 2016 / 83 min.
section: First Lights
World Premiere
Ministerstvo kultury
Fond kinematografie
Evropská unie
Město Jihlava
Kraj Vysočina
Česká televize
Český rozhlas
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