24th Ji.hlava International Documentary Film Festival
Masterclass: Atanas Georgiev
director: Atanas Georgiev
original title: Masterclass: Atanas Georgiev
running time: 90 min.
Masterclass by Atanas Georgiev, producer of Trice Films and editor, Macedonia. Finding a subject and a character is hard enough when vowing to completely immerse yourself in making a non-fiction film. But the responsibility of staying truthful to the story while balancing between morality, ethics and aesthetics is as hard as it gets.
In cooperation with Institute of Documentary Film.
biographyAtanas Georgiev was born in 1977 in Skopje, North Macedonia, in what was then Yugoslavia. He graduated in 2000 from the Academy of Drama Arts in Skopje in film & TV editing, and edited numerous feature films, documentaries, shorts, and music videos. Now he lives and works as a director and editor in Prague and Skopje.
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other films in the section
This originally censored musical film is a satirical depiction of the inhabitants of Vojvodina, a rural region of Serbia characterized by its multi-ethnic population. Although it won two awards in Oberhausen, it was banned in Yugoslavia and Godina was long prevented from making experimental film. „I have always tried to find a new language or a form to implement into the film.” K. Godina
Litany of Happy People
Yugoslavia / 1971 / 14 min.
French producer Pierre-Olivier Bardet (1953) is a co-founder of the Idéale Audience production company. Films that he has co-produced include Frederick Wiseman’s La Danse (2009) and National Gallery (2014), as well as Alexander Sokourov’s Francofonia (2015) or Wang Bing’s Mrs. Fang (2017), this year’s winner of the Golden Leopard in Locarno. The title of Bardet’s lecture is a question formulated by G. W. Leibniz in the late 17th century, which Bardet believes perfectly captures every producer’s starting dilemma. In his lecture, which he will open with a practical example – a description of his own activities while producing the Israeli-French film Hotline (Silvina Landsmann, 2015) – Bardet will ask what the point of “producing” is and what it actually means.
Pierre-Olivier Bardet: Why Is There Something Rather Than Nothing ?
We can see reflected in the work of French editor Claire Atherton, who worked closely with Chantal Akerman, the belief that, in addition to image and sound, time is a narrative element and an essential aspect of film media. According to her, editing gives a film its shape - making it visible, embodying it - through an intuitive thought process. In this masterclass, she shares her rich experiences with viewers, presents her own concept of editing, and answers the basic questions: What role does editing play in the creation of films? How does editing unite the material and the director’s vision?
Masterclass Claire Atherton: Editing. A Composition
Czech Republic / 2016 / 140 min.
The activist duo launch headfirst into a Don Quixotesque mission to change the world. For Andy Bichlbaum and Mike Mike Bonanno, the proverbial windmills are large corporations that ruthlessly focus on their own profit, and do not take responsibility for the results of their actions. The duo target these using sophisticated public campaigns. “So that’s where I think we’re interested in going, is trying to see how we can broaden our risk taking and help a lot of people take the sort of risks that are necessary to create change.” (Mike Bonnano)
The Yes Men Fix the World
Mike Bonanno, Andy Bichlbaum
France, United Kingdom, United States / 2009 / 87 min.
This portrait of the influential Icelandic landscape painter Georg Gudni (1961–2011) presents his artistic development, sources of inspiration, and thoughts about painting. It also introduces questions about the relationships between the artist, the work, reality, and the viewer. Paintings are interwoven with images of the landscape and archival shots, in which Guðni explains his philosophy of creativity, interspersed with interviews with art historians and Guðni’s former colleagues."Georg Gudni’s main goal was capturing the Icelandic nature. Horizon is a personal discovery of the mindset of contemporary landscape painter, whom we knew personally. For us too – this is a very personal journey."
Fridrik Thor Fridriksson, Bergur Bernburg
Iceland, Denmark / 2015 / 80 min.
A session dedicated to recently deceased director Alexander Rastorguev (1971-2018), who was best known for his documentary The Term (2014) about Russia’s anti-Putin opposition. Alexander was recently killed along with other two Russian journalists in the Central African Republic while investigating a Russian private military company with links to the Kremlin, according to top ranked media world agencies.
Susanna Baranzhieva: Tribute to Rastorguev
Chantal Akerman dedicated this film to her mother, who after her liberation from Auschwitz shut herself up in her home. Akerman accentuates her hyperrealist style through the use of digital technology (cheap DV camera, smartphone), thus capturing not only the closeness of home but also the distance between her mother’s life and modern nomadic existence.
No Home Movie
Belgium / 2015 / 112 min.
Master of the interview, subtle observer and creator of multifaceted documentaries Marcel Ophuls (1927) is the son of director Max Ophuls. The German-born Frenchman with US citizenship shot most of his films on commission for television. His documentaries weave together a variety of personal reminiscences on the wartime events of the 20th century. His work is characterised by a sense for the moment and by the sophisticated combination of materials that engage the viewer both morally and intellectually. Ophuls sees documentary film as a narrowly defined genre; during his lecture he will focus on the question of what should be included in a film and what should be left on the cutting room floor.
Masterclass Marcel Ophuls: Joys and Sorrows of Documentary Filmmaking
Czech Republic / 2017 / 77 min.
This Russian filmmaker’s feature documentary Putin’s Witnesses (2018) is a portrait of Russia from a unique and unlikely perspective. It is composed exclusively of archival footage shot by director Vitaly Mansky (1963) at the very beginning of Putin’s presidential era. The director will discuss his process of weaving together these materials to create a greater picture in this extended case study of the film.
Vitaly Mansky: Portrait of Russia
American experimental filmmaker and documentarian Bill Morrison uses a variety of damaged celluloid strips in his films; most often, however, those damaged by the ravages of time. Using excerpts from his own films, he describes how archival material can be transformed into very different films, whether image-based, documentary, or narrative. He also shows how the meaning of the original source material can be modified by placing the fragments into a new context.
Masterclass Bill Morrison: Consider the Source
Czech Republic / 2016 / 60 min.
An engaging appreciation of the work and personal life of British director and proponent of kitchen sink realism Ken Loach. This BBC documentary on the director’s life work and the ideological roots of his social dramas and stories of ordinary people in the English suburbs is interwoven with scenes from his films.
Versus: The Life and Films of Ken Loach
United Kingdom / 2016 / 96 min.
Romanian producer Ada Solomon (1968), general manager of Hi Film Productions, works with directors such as Radu Jude and Calin Peter Netzer. She takes part in international co-productions, such as the film Toni Erdmann (Maren Ade, 2016). She’s a winner of the European Co-Production Award. Her lecture is a discussion with her husband and collaborator, documentary filmmaker Alexandru Solomon, author of the films Kapitalism: Our Secret Recipe (2010) and Tarzan’s Testicles (2017). It will address the benefits and pitfalls arising from the use of a documentary approach when creating fiction films. How does this approach influence the organization of the shoot and the film’s structure? And what are its costs reflected in the budget?
Masterclass Ada Solomon: Documentary in Fiction Film
Alexandru Solomon, Ada Solomon
Czech Republic / 2017 / 106 min.