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
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.
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.
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.
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.
Icelandic composer Hilmar Örn Hilmarsson writes music for documentary and fiction films and also works with well-known local bands such as MÖK and Sigur Rós. In 1991, he won a European Film Award for his music for Friðrik Þór Friðriksson’s Children of Nature, with whom he has collaborated on many other movies. At his master class, he will explain the differences between making music for documentary versus fiction films, and will reflect upon the authenticity of period instruments in historical documentaries.
Masterclass Hilmar Örn Hilmarsson: Music in the documentary film
Hilmar Örn Hilmarsson
Czech Republic / 2016 / 112 min.
Krzysztof Zanussi (1939) is one of the pillars of Polish cinematography. Together with Kieślowski and Wajda, he's a part of the trio of the most internationally respected Polish directors who have achieved success both at home and abroad. In his masterclass, Zanussi will introduce his work with young debuting directors as well as student films which he has participated on as a teacher of several prestigious film schools, and share his experience from, among others, Lodz, New York and Moscow. The audience will get a peek under the drape of mystery which veils Polish cinematography and receive an introduction on how to succeed as a young filmmaker in Poland.
Krzysztof Zanussi: Directorial Debut Films
Sean McAllister (1965) is an award-winning documentary filmmaker celebrated as one of the UK’s most exciting talents. Sean will be describing his unique approach to documentary direction and camerawork. We will learn about what it is like to shoot a film in his home country and home town after spending many years on topics and protagonists in other parts of the world and he will tell us about his new film.
Sean McAllister: Coming Back Home
United Kingdom / 120 min.
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.
In the films of award-winning Austrian director Andreas Horvath (1968), interesting characters seem to dominate the screen. His latest film Helmut Berger, Actor is no exception. It is an unconventional and controversial portrait of the actor Helmut Berger and his tumultuous relationship to the director. The film itself is an insightful commentary on the documentary medium, revealing the power dynamic and struggle sometimes present between filmmaker and subject. Andreas Horvath will present an extended Q&A session that will be preceded by the screening of the film Helmut Berger, Actor.
Andreas Horvath: Spending Time With Helmut Berger, Actor
Russian filmmaker Dmitrii Kalashnikov’s latest feature documentary The Road Movie paints a portrait of Russia from a unique and unlikely perspective. Composed exclusively of found footage from dashboard cameras filmed by Russians while on the road, the film alternates between being meditative and downright terrifying. Dmitrii Kalashnikov will discuss his process of weaving together these materials to create a greater picture in this extended Q&A session that will be preceded by the screening of The Road Movie.
Dmitrii Kalashnikov: Behind The Road Movie
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.
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