24th Ji.hlava International Documentary Film Festival
Masterclass Barbora Chalupová, Vít Klusák: Caught in the Net
original title: Masterclass Barbora Chalupová, Vít Klusák: V síti – vystřižené scény
country: Czech Republic
running time: 100 min.
synopsisVít Klusák and Barbora Chalupová shot an unprecedented documentary never before seen in a Czech context. The creators focused on child abuse on the internet and sexual predators seeking their prey deep within the bowels of social networks. The aim of the psycho-social experiment was to hunt down and catch these predators and find out their motives. In the masterclass, the filmmakers will guide us through the material that didn't make it into the final cut of the film, but that still remains an important topic for discussion. We will talk about the cut, dramaturgy, and grasping the substance of the film so that the resulting documentary is coherent in all respects and meets high ethical demands.
biographyBarbora Chalupová (1993) is a student at the Department of Documentary Film at FAMU. For Czech Television, she directed two episodes of Czech Journal: A Theory of Equality (2017) Realities (2019). Vít Klusák (1980) graduated from the Department of Documentary Film at FAMU where he currently works as a teacher. In his films, he systematically returns to the frictional surfaces between creation and society. Film credits: All for the Good of the World and Nosovice 2010), The White World According to Daliborek (2017).
other films in the section
A sophisticated game of cat and mouse in which the constantly moving camera is the hunter and the young woman wandering the streets of Ljubljana to the sounds of jazz music is the prey. The film spent fifty years hidden under the bed of one of the filmmakers and was first screened at a meeting of Slovenian amateur filmmakers.„All my films have certain message and only important thing for me is and was to catch a spirit of time.“ K. Godina
Jure Pervanje, Karpo Godina
Yugoslavia / 1965 / 6 min.
This Serbian director and a pedagogue who ranks among the main figures of the so-called Yugoslav Black Wave is this year’s juror of the Opus bonum competition section. Želimir Žilnik’s work reflects the tradition of cinema verité and the influence of the New York avant-garde. As early as in the 1970s, his socially engaged films focused on the criticism of the establishment following the same line also after the collapse of Yugoslavia. “I don’t try to hide my camera. I don’t hide the fact that I’m shooting and making a film about people… During shooting, I realise that, to a certain extent, I am betraying the reality that is opening up to me,” says Žilnik, summing up the nature and the problems of documentary filmmaking. In his Master Class, he will use clips from his work to demonstrate his filmmaking method and the techniques employed in his films.
MASTERCLASS: Želimir Žilnik
An old, withered female body shown in Waltz is an expression of the grotesque, afterwards represented by the séance of the dancing bodies of young men and old women. By opposing the dance of life and death, the transition implicates the personification of Eros and Thanatos. Confronting the images polarizing the body and meat, the entrance and the exit, the film provokes an impression of the transience of life. The emphasis given on the aspects of sexuality, masculinity and eroticism narrated through the dance of generations is an externalization of the nostalgic relationship between melancholy and escapism. Detail:“Let’s go in two rows! Today we’re going to learn a dance in three four time and this is the most beautiful dance – the waltz ! Viennese waltz! Strauss waltz!”
The Waltz (My First Dance)
Yugoslavia / 1970 / 28 min.
A European in a suit and tie comes to Africa, allegedly to open a match factory. In actuality, however, he is planning to illegally mine for gemstones. In even more actual actuality, he is journalist Mads Brügger, who is filming a documentary about the world of diplomacy, in which two approaches meet – “advanced” and “primitive” cultures, which have one thing in common: money. The film shows that the world of politics is not about the representation of national identity, but that it can be an ideal place for a rogue, represented by the strong euro.
Denmark / 2011 / 93 min.
The group of artists Flatform was founded in 2006 and is active in Milan and Berlin. The collective creates inventive experimental films and multi-channel video installations investigating illusory depiction or narration. Their works have been presented at prestigious festivals including the Venice and Rotterdam Film Festivals, and have been exhibited at important galleries. Their last film Quantum.(2015) will be screened as part of this year’s Fascination section. The masterclass will focus on their specific notion of poetical and technical world besides analysis of their work.
Masterclass Flatform: The response ‚for no reason‘ is a genuine answer
Czech Republic / 2015 / 120 min.
Yuriy Norshteyn, the greatest poet of world animation, presents the first foreign (Czech) edition of his epic book Snow on the Grass. The leitmotif of the publication and of the Jihlava masterclass are the outcomes from Norshteyn’s inspired seminars in Japan and Russia. The central topics are the inspirational sources for filmmaking, the principles and limitations of film, the interrelationship between image, sound and music, literature and image, and film as an art form Norshteyn will also show his films The Battle ofKerzhenets, 25th October, the First Day, Winter Days and an excerpt from his cult adaptation of Gogol’s The Overcoat.
Yuriy Norshteyn: The Phenomenon of Depiction
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
Islandic composer, experimenter, and creator of the Ji.hlava festival spot for 2017, Jóhann Jóhannsson (1969) writes electro-acoustic, minimalism-influenced film music, for which he has earned numerous awards for its originality and sensitivity to the inner rhythm of the film. He works with Hollywood directing stars as well as with independent filmmakers. He created the fantastic brass accompaniment for the film The Miners’ Hymn, which was screened at the Ji.hlava IDFF in 2016. During his lecture, he will discuss ways of creating film music and his own personal methods.
Masterclass Jóhann Jóhannsson: Music in Documentary Film
Czech Republic / 2017 / 90 min.
Godfrey Reggio’s task will be to provoke those present to consider the most misunderstood and consequential subject of the last 5,000 years: the Technological Environment. Technology is not something we use; it is as ubiquitous as the air we breathe. Though seeing, we are blind to its presence, hidden in plain sight. For those willing to “take a walk on the wild side,” we will explore how we see the world through language, how our languages no longer describe the world in which we live, and how through the lens of outsider cinema we may approach this untellable subject. The focus is speechless narrative, not a story to be told, but rather a story to behold. In a syntax of the eye, the form is cinematic poetry. Godfrey Reggio invites you to join him on this journey to the vivid unknown.
Masterclass: Godfrey Reggio
Czech Republic / 2014 / 105 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.
Masterclass: Atanas Georgiev
After 16 years the Russian documentarian Victor Kossakovsky, who is undoubtedly one of the most outstanding contemporary filmmakers, will be returning to Jihlava as the leader of the Ex Oriente Film Workshop and as a jury member for the festival’s competitive Opus Bonum section. This director gained international renown thanks to his film The Belovs (1993), which has since achieved cult status. He has the justifiable reputation as a filmmaker who not only is able to capture mundane situations with subtle transcendental poetic visual and audio elements but also has an innate talent for composition, internal rhythm, and drama within individual scenes. In his open Masterclass, Kossakovsky will give the participants insight into the principles of his work and sources of inspiration, which, in addition to the magic of everyday life, he also finds in the visual arts, poetry and classical literature. The lecture will be preceded by a screening of his film ¡Vivan las Antipodas! (2011).
Masterclass: Viktor Kossakovsky
Czech Republic / 2015 / 90 min.
Thomas A Østbye is a distinctive voice among Norwegian directors. He is known for combining artistic reflections on the documentary genre with contemporary political dilemmas. He made his mark with formally challenging documentaries such as Imagining Emanuel, HUMAN, and In Your Dreams, which have received numerous art and film awards. He also makes art installations and runs the PlymSerafin production company. Østbye will show excerpts from his films and will share his working method, with a focus on developing cinematic style and form in relation to the ethics and aesthetics found in his latest films.
Masterclass: Thomas A. Ostbye
Thomas A. Østbye
Czech Republic / 2015 / 50 min.