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24th Ji.hlava International Documentary Film Festival

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La Mesa
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La Mesa
La Mesa
La Mesa
La Mesa

La Mesa

director: Adrian Garcia Gomez
original title: La Mesa
country: United States
year: 2018
running time: 10 min.

synopsis

Genre conventions cleverly broken down with animations, breaking through the scenery of rural Mexico, where in the area surrounding the director’s family farm, symbols of stories of physical desire conceal a layer of idyllic childhood memories and come into conflict with the traditional concept of masculinity and identity expression.  

"By centering queer desire within the story of my Mexican-American family, I validate my own lived experience as well as challenge popular representation of masculinity, power and vulnerability." A. G. Gomez

 

biography

Adrian Garcia Gomez (1972) is an interdisciplinary artist working with film, video, photography, and illustrations. He studied photography and video in New York and art history and photography at university in San Francisco. His work, much of which is autobiographical and performative in nature, explores issues of race, gender, sexuality, and immigration, contrasted with tradition, conventions, and Maya spirituality. 

 

more about film

director: Adrian Garcia Gomez
producer: Adrian Garcia Gomez
editing: Adrian Garcia Gomez

other films in the section

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
Soar
A digital miniature in which the form into which the image is deconstructed emphasizes the things we leave in our wake – trajectories of movement, actions, decisions, gestures. This guide of the traces we leave behind dissolves into a depiction of the things that remain; the simple visual approach raises the imperative of understanding the consequences of the movements of mind, body, and things. "Choreography of an imaginary journey 
Color / 7 minutes 40" P. Bokanowski

Soar

Patrick Bokanowski
France / 2018 / 8 min.
section: Fascinations
Central European Premiere
Non-Places: Beyond the Infinite
This essayist collage visually develops French anthropologist Marc Augé’s concept of nonplace (ephemeral places characterized by anonymity or blurred identity) and turns images of highways and rest stops upside down, thus emphasizing the difficult-to-grasp images of these worlds “Marc Augé’s essay (Non-Places: Introduction to an Anthropology of Supermodernity) meets with Stanley Kubrick’s 2001: A Space Odyssey in some Hungarian highway rest areas.”

Non-Places: Beyond the Infinite

Péter Lichter
Hungary / 2016 / 6 min.
section: Fascinations
European Premiere
Double 8
Christiana Perschon shot her meeting with the artist Linda Christanell, a representative of Austria’s feminist avant-garde of the 1970s, on double 8mm fi lm without cutting. When shown, the fi lm’s split image shows footage of the two women fi lming one another to create a dialogue on seeing and being seen. “Every interaction with an image searches for its own form.  Approaching someone with my camera is not a one-way encounter but an act of getting to know each other: I see you seeing me instead of looking at you.” C. Perschon

Double 8

Christiana Perschon
Austria / 2016 / 3 min.
section: Fascinations
International Premiere
Airship
The latest film by this legendary experimental filmmaker puts together news footage of giant airships that emphasize their monstrous size and nearly nightmarish impression using realistic images in which the filmmaker nevertheless emphasizes their mythological and mysterious nature, as well as the sense of awe they evoked in their time. The golden age of the airship was in the interwar period, when they flew to the North Pole, crossed the Atlantic, and even circumnavigated the globe. During the war, they were used for naval reconnaissance, especially by Germany, and to engage in airborne terror against civilians. Later, they were used (primarily in the United States) as airborne radar stations.

Airship

Kenneth Anger
United States / 2012 / 9 min.
section: Fascinations
European Premiere
The Sailor
The margins and horizons of a landscape that perhaps never existed. A story told using the invented language of the Na’vi (created for the film Avatar), in which rhythm and tone create the narration. A semantic vision of the absence of what is present – birthplace, home, solid ground – questions the imagination about the unclear boundary between what is dream, what is possible and what is real. “I guess that the memory of a look is always indefinite and compromised by details.” G. Giaretta

The Sailor

Giovanni Giaretta
Netherlands, Italy / 2017 / 9 min.
section: Fascinations
East European Premiere
Blending and Blinding
Strictly working with the film material inside the camera, Tuohy updates slowly forgotten approaches to create a collage of architectural geometries. The monolithic nature of the image blurs the outlines of the buildings as the film frame disintegrates into grids cutting through the layers of the image in multiple exposures. The buildings depicted represent the cultures of the three main ethnic groups of Malaysia. "This film is dedicated to Paul Clipson and Robert Todd, both of whose works were specifically on my mind while filming this film in Malaysia in 2016." R. Tuohy  

Blending and Blinding

Richard Tuohy
Australia / 2018 / 11 min.
section: Fascinations
European Premiere
Save (My heart from the world)
The movements of the ferry, creating additional disturbances in the waves of the Mediterranean Sea, enable the creation of colorful compositions, unexpectedly degraded algorithmic interventions of digital compression which in inventive surfaces and grids mask and repeatedly renew the authenticity of the record of the voyage, while the horizon becomes an escaping uncertainty. Jacques Perconte (1974) is a leading figure on the French avant garde film scene. He experiments with digital images, codecs, and compression algorithms that he himself creates. Thematically he focuses primarily on the relationships of contemporary culture and technologically advanced civilizations with nature. His work has been screened at past Jihlava IDFFs: L (2014), Les Moutiers (2012), and Ettrick (2015), among others.“The wind blew from the starting of the ferry. Offshore, the swell could make the travel difficult, but that boat would split the sea and project its Mediterranean blue in the golden sky and the fire light of the setting sun in the waves.”

Save (My heart from the world)

Jacques Perconte
France / 2016 / 10 min.
section: Fascinations
East European Premiere
SHASHIN NO MA
The word 間 (ma) in Japanese expresses the awareness of interval / space, not in the traditional notion of a closed three-dimensional entity, but rather as form and non-form mediated by amplified senses. These are confronted by an experimental film that explores the notion that a film’s content is the cinematic equivalent of reality.   "SHASHIN NO MA, literally means MA(間) of photograph. It is an homage to my father, all the fathers who film their children and history of amateur cinema." T. Maruyama
personal program

SHASHIN NO MA

Tetsuya Maruyama
Brazil, Japan, United States / 2020 / 6 min.
section: Fascinations
World Premiere
Places With Meaning
Microsoft created the Webdings font in 1997 as a successor to Wingdings, around which controversy had developed when it was discovered that certain sequences of characters possessed unwanted connotations. The film was made in Microsoft Word and transferred onto 16mm film.

Places With Meaning

Scott Fitzpatrick
Canada / 2012 / 3 min.
section: Fascinations
East European Premiere
#57
A visualization of the workings of the high-frequency oscillators once used to test military sonars and medical ultrasound devices is juxtaposed with abstract illustrations of a Chinese mathematician’s differential equations, and their visualization through analogue computer processes shows the subtle exactness of changing textures.  "Technology is a deforming mirror that shows us what humans think and do. For that reason I make my work in a dialogue with machines that I develop myself, trying to learn from what they tell us." J. Rekveld

#57

Joost Rekveld
Netherlands / 2018 / 14 min.
section: Fascinations
Central European Premiere
On the Border
The filmmaker takes hundreds of photographs of ocean trash that has washed up on the shores of Japan and uses the photogrammetry technique to turn them into sculptures. When filmed in the virtual space, they become mementos of environmental irresponsibility and examples of the excesses of our affluent way of everyday life. "Looking through the eyes of new technologies, we can have unexpected and incredible views of the reality." Y. Nishimura  

On the Border

Yoshiki Nishimura
Japan / 2018 / 7 min.
section: Fascinations
World Premiere
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