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24th 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

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: First Lights
World Premiere
God Straightens Legs
At the center of this observational documentary stands the director's mother, Renée, bedridden with an insidious disease. With respect for her mother’s devotional faith, the atheistic-minded filmmaker captures a woman who for religious reasons refused to undergo traditional chemotherapy and waits for a miracle between the walls of her bedroom . While outside the window of the woman's room life goes on day after day, the camera patiently follows the protagonist during her normal activities with which she whiles away the hours - watching TV, talking with friends, praying with a friend, meeting with nurses, as well as routinely cleaning the house."Dealing not only with the trauma of her diagnosis but also with societal reproach for her decision, I wanted to make a portrait of my mother without judgement, instead with empathy, curiosity and patience." J. Walinga

God Straightens Legs

Joële Walinga
Canada / 2018 / 67 min.
section: First Lights
International Premiere
Slits
Physicist Catarina, dedicated to her work and teaching at university, has come close to a breakthrough discovery in her research on quantum mechanics. She discovered a so far unknown level of sound spectrum, which is to become key in new perspectives of looking at the world. This simple film with a powerful concept is not merely a story of a Brazilian female scientist, but it also offers a commentary about our (in)ability to capture reality. The rather non-traditional topic of the film corresponds with its unusual form: it consists simply of very long, seemingly static images. “To keep the possible and impossible in life in tension. To build an escape line from this journey. To create a crack in the wall that surrounds us. That is the most important reason to make films for me.” C. Segundo
personal program

Slits

Carlos Segundo
Brazil, France / 2019 / 78 min.
section: First Lights
International Premiere
Meteors
People are transformed from hunters into victims and the city is hit by rockets and meteors on the same day. Through the eyes of actress Ebru Ojen, this strange docu-fiction captures the historical memory of one Kurdish town in eastern Turkey, which is stricken by armed conflict and where martial law throws daily life into a frozen timelessness. The director’s original combination of various cinematic styles with recycled video material joins the film’s many fragments into visually and musically interrelated chapters that mix political commentary with a documentary essay about a disappearing world. “Our behaviours relate to a certain geographic location and its history. It shapes our memories, how we remember them. What happened back then is a faded memory now, and Meteors is my re-imagining of how we remember everything.” G. Keltek

Meteors

Gürcan Keltek
Turkey, Netherlands / 2017 / 85 min.
section: First Lights
East 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
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
Poland, France, Morocco / 2017 / 64 min.
section: First Lights
European 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
Sand and Blood
The film takes a look at the recent history of two Middle Eastern countries torn by war – Iraq and Syria – from the perspective of local residents who have made the decision to flee their homes and seek asylum in Austria. It’s made up of a montage of conversations with refugees and amateur videos and images from various social networks and online platforms depicting events in both countries. Sand and Blood links individual stories and histories which are intended to awaken a deeper interest in the topic. Instead of a political film, the director considers his work to be something like a painting or poem. „A film that forces the viewer to question the very nature of good and evil, victim and perpetrator.” M. Krepp

Sand and Blood

Matthias Krepp
Austria / 2017 / 90 min.
section: First Lights
East European Premiere
In Praise of Nothing
“A whistleblowing documentary parody about Nothing.” That is how the filmmakers describe In Praise of Nothing. In fact, Nothing is the only protagonist of this essay-like film. An ironic and unflinchingly critical monologue, delivered in simple rhymes and with the voice of Iggy Pop, accompanied by captivating and succinctly expressive footage shot by several dozen people all over the world with the assignment to “shoot nothing.” „A cinematic equivalent to Erasmus’s humanistic classic In Praise of Folly, in which Folly goes around the world arguing it is smarter to be mad than smart. 500 years later, it is Nothing who gets the main role.“ B. Mitić

In Praise of Nothing

Boris Mitic
Serbia, Croatia, France / 2017 / 78 min.
section: First Lights
Central European Premiere
Dopamina
The filmmaker’s family falls into crisis when her father is diagnosed with Parkinson’s disease – a condition in which the brain stops producing dopamine, the hormone responsible for muscle movement and happiness. At the same time, Natalia is coming out to her parents, former left-wing social activists, something for which they have no understanding. In her intimate and contemplative film, the director interviews her relatives about their life stories and, through an intergenerational dialogue, tries to reach a mutual respect and family harmony that could help her sick father. “Making films is my way of experiencing the world, the most organic form of inhabiting it that I have ever felt. Dopamine, my first feature film, was a necessity and a beautiful exorcism.” N. Imery Almario 
personal program

Dopamina

Natalia Imery Almario
Colombia, Uruguay, Argentina / 2019 / 87 min.
section: First Lights
World Premiere
IN MY SKIN
The theme of domestic violence is discussed in the public more often than before, but it still remains a burning issue victims are afraid to talk about. The director deals with the issue from an unusual perspective in a stylized documentary: she does not only describe the problem, but lets us experience it together with three female characters, using subjectifying methods based on testimonies of actual victims of domestic violence. Their inner voices describe how diffi cult it is to prevent or break up the relationship with the abuser. Then their actions suggest possible solutions.“For women, home is the most dangerous place. This movie resulted from the desire to let women tell their stories shame free. The viewer experiences their journey.” A.-S. Richard
personal program

IN MY SKIN

Anna-Sophia Richard
Germany / 2019 / 72 min.
section: First Lights
International Premiere
FREM
The film is a reaction to the current wave of post-humanist thinking caused by the development of technology and artifi cial intelligence as well as the climate crisis. The human species is beginning to realize its insignifi cance and transience, and human identity has found itself in a crisis. The fi lm FREM attempts to refl ect this feeling and creates a dehumanized and alienated view of landscape and nature beyond human perception of reality. Incomplete thoughts and fragments of dialogue, diverse music interrupted by rushes and glitches, and the seemingly confused, unanchored camera, create a disturbing, philosophical refl ection on the limits of anthropocentric thinking. "Making this film was an extreme experience, in every aspect, not only physical, since we shot in Antarctica. I had to think un-thinkable. Leave the prison of anthropomorphism behind. Stop being human." V. Čákanyová
personal program

FREM

Viera Čákanyová
Czech Republic, Slovakia / 2019 / 73 min.
section: First Lights
World Premiere
Ministerstvo kultury
Fond kinematografie
Evropská unie
Město Jihlava
Kraj Vysočina
Česká televize
Český rozhlas
Aktuálně.cz
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