24th Ji.hlava International Documentary Film Festival
Masterclass Claire Atherton: Editing. A Composition
director: Claire Atherton
original title: Masterclass Claire Atherton: Lekce střihu
country: Czech Republic
running time: 140 min.
synopsisWe 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?
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other films in the section
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 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.
The Israeli-born, French-based filmmaker Eyal Sivan will hold a master class dedicated to documentary filmmaking as a means of expressing critical dialogue, political consciousness and history (re)vision in the frame of the Israeli-Palestinian relations. The master class will be preceded by the screening of The Specialist, Portrait of a Modern Criminal – a unique courtroom drama recorded during the trial of Adolf Eichmann, in 1961, in Jerusalem. The film about obedience and responsibility is a portrait of an expert in problems resolving and a modern criminal.
Eyal Sivan: The Specialist, Portrait of a Modern Criminal
France / 1999 / 128 min.
As The Yes Men, Andy Bichlbaum and Mike Bonanno's (1960) brand of activism has kept them in the headlines in USA for nearly two decades. They have made several feature films. They also created the Action Switchboard website, which was recently launched as a platform for participatory direct action. By injecting humour into drop-dead serious subjects, they provoke laughter and debate from audiences.
Mike Bonanno: History of Jokes
Spanish director, screenwriter and a producer, Jaime Rosales, is one of the filmmakers involved in our Complete Letters project and a guest who will present his Master Class to the Jihlava IDFF’s audience. He will also bring his award-winning film, Bullet in the Head, based on real events, during which two French policemen in plain clothes were mercilessly shot by the members of the separatist organization ETA. The thriller’s plot unfolds on an entirely unique stylistic backdrop. Jaime Rosales studied in Havana and Sydney. His work is influenced by the simple and minimalist cinematography of filmmakers such as Yasujiro Ozu or Robert Bresson. Rosales’s entire work, winning awards, for example, in Cannes, is characterised with a precise sound editing combined with the purity of the form and an intensive emotional impact.
MASTERCLASS: Jaime Rosales
Sergey Dvortsevoy's films feel as if there are no boundaries between documentary and fiction. His signature style is slow and long handheld shots that determine the overall imagery of all his films, as well as a deep interest in the dignity of marginalized people. He attentively depicts the realities of the social and economic situation of his heroes living in Kazakhstan and Russia. In his masterclass, the director reveals his ways of seeing the world and the principles by which he creates his works.
Masterclass: Sergey Dvortsevoy
It’s difficult to imagine two more different places to live than Brasil’s Entre Rios and Shanghai in China. Despite this, they have something in common - they are antipodes - two places connected by a straight line through the centre of the earth. Using contrasting images from these geographically and culturally opposite countries, the filmmaker turns our views of the world upside-down. “You need your brain both before and after filming, but don’t use your brain during filming. Just film using your instinct and intuition.”Victor Kossakovsky
Long Live the Antipodes!
Germany, Netherlands, Argentina, Chile / 2011 / 104 min.
Cristi Puiu is considered to be a pioneer of the "Romanian New Wave" movement. In 2005, he won the Un Certain Regard section in Cannes for his film, The Death of Mister Lazarescu (2005). The film Aurora (2010) was also screened in Cannes and won the East of the West Award at the Karlovy Vary Film Festival. The drama Sieranevada (2016) was nominated for a Palme d'Or Prize at the Cannes Film Festival. Puiu often uses documentary film techniques in his feature-length films. His masterclass answers the questions of whether he uses them to achieve "truth" and greater authenticity, whether a documentary is more truthful than a feature film, whether there is any truth to film at all, or whether Godard's saying, "every cut is a lie," remains a valid notion.
Masterclass: Cristi Puiu
Romania / 90 min.
Two of the three authors of the documentary Velvet Terrorists will talk about the creative work, methods and production hardships during the development of their film at a Master Class, including the screening of the film’s previews. Peter Kerekes and Ivan Ostrochovský joined their creative forces on all of the three levels – as directors, authors, as well as producers. Velvet Terrorists follows the story of three men longing to become heroes. During the 80s, they decided to fight the communist regime in Czechoslovakia. Explosions, gunfi re, terroristic drill and behind all that there is the desire for love.
Kerekes and Ostrochovský: Velvet terrorists
Pavol Pekarčík, Peter Kerekes, Ivan Ostrochovský
Slovakia, Czech Republic, Croatia / 2013 / 87 min.
The work of a doctor, nurse, and driver on a 48-hour shift in one of Sofia’s 13 ambulances looks like a quixotic endeavour. The Bulgarian capital has a million and a half inhabitants, but low salaries in healthcare have led to a decline in the number of people who should be saving people’s lives. A case study of emotionally raw moments faced by the emergency medical team and its patients, in which we experience joy, disillusionment, fear, hopeless, and pleasure practically at the same time.
Sofia‘s Last Ambulance
Bulgaria, Germany, Croatia / 2012 / 75 min.
East European Premiere
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.
A short film from 1967 in the Mediterranean city of Split, showing the dynamics of the streets and the people who walk them, while focusing on their movements, facial expressions and the way in which society is polarized into sickness and health. The repetitive manic laughter is an expression of helplessness, encapsulating contrasts in space and time and evoking Robert Burns’ poem To a Mouse: “The best laid plan of mice and men / of go awry, / And leave us nothing but grief and pain, / Instead of promised joy!” Detail: An old man lights a cigarette, coughing and dropping it as the music stops. The camera shows us where the cigarette is, but the man is incapable of finding it.
People (Passing by)
Yugoslavia / 1967 / 10 min.