24th Ji.hlava International Documentary Film Festival
Masterclass: Cristi Puiu
synopsisCristi 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.
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other films in the section
Producer Rebecca O’Brien has worked for many years with British director and documentarist Ken Loach. At this producer’s masterclass, O’Brien presents her new biographical film Versus: The Life and Work of Ken Loach. She shares her experiences from her thirty years’ collaboration with Ken Loach. The theme - the fine line between documentary film and fiction, as well as the specificity of creating a film whose subject is your good friend and close collaborator – will play an important role.
Masterclass Rebecca O'Brien: How to Make a Ken Loach Film
Czech Republic / 2016 / 50 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.
This documentary film is dedicated to the memory of the Italian stage actor and director, Luca Ronconi (1933–2015), and presents his charismatic and inspirational personality in detail. It records one of Ronconi’s summer schools of experimental drama, the fascinating process of rehearsing stage plays, and the passing on of experience to a group of ambitious young actors.“I chose to approach Ronconi with discretion and simplicity, without adulation, and we silently entered the life of the school, becoming part of it, and discovering, along with the students, the value of study, concentration, putting ourselves on the line, and not settling for our own vocabulary and our own habits, which can become a cage.”
The Summer School
Italy / 2014 / 87 min.
East European Premiere
Romanian director Radu Jude (1977) is one of the most notable filmmakers of our time. During his master class, the winner of the Silver Bear for best director at the Berlinale will introduce you to his remarkable work in archives, where he carried out thorough investigations that have become the basis for his film works. Today, this approach is nothing unusual, but Jude has perfected it masterfully. His brilliant work with archives can be seen twice at this year’s festival: in the movie The Dead Nation and the short film The Marshal's Two Executions.
Radu Jude: Archive Mysteries
Italian film editor Jacopo Quadri worked with documentary filmmaker Gianfranco Rosi on the successful Fire at Sea, which won the Golden Bear for Best Film at this year’s Berlinale. As part of his editing master class, he will screen his own film The Summer School (2014). According to Quadri, film editing “is something liquid and physical. It looks like a river that cuts through unknown lands. The spectator is like a swimmer or a sailor. Each element is linked to the other by contrast or similarity as if the film were a journey.”
Masterclass: Jacopo Quadri
Czech Republic / 2016 / 60 min.
At this master class organized by the Jihlava IDFF and the Institute of Documentary Film, French director Nicolas Philibert – a recipient of the European Film Academy’s Best Documentary Film Award, among other things – will share his unusual approach to filming and storytelling, which he summarizes with the sentence, “The less I know about a topic, the better I feel!” This filmmaker, who has long been fascinated with language and communication, transforms curiosity and ignorance into an effective filmmaking method. Philibert’s documentaries have explored dark visions of a future world controlled by the financial sector, everyday life at a one-room school in a remote mountain village, or one broadcast day at Radio France, but they always touch on paths that we set out on without a map but with courage.
Nicolas Philibert: Film As an Invitation
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
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.
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
An intense portrait of the Hotline for Refugees and Migrants, a small Israeli human rights organization focused on an incomparably larger and more difficult task: helping illegal African refugees. The director focuses less on the immigrants and more on the organization’s staff, their personal values and their daily struggles with bureaucracy, all of which she records herself with a handheld camera.“I followed the workers of the Hotline for Refugees and Migrants in their routine: the young women informing asylum seekers about their rights, the lawyers fighting to liberate asylum seekers from prison, the public policy coordinator working at the Parliament's Internal Affairs Committee etc.” S. Landsmann
Israel, France / 2015 / 100 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.
Helmut Berger, a star in the European acting world, gave brilliant performances in the films made by the Italian director Luchino Visconti. This documentary portrait takes a look at the life of this elderly eccentric man, who lives in a flat overflowing with trinkets from the past. The director used interviews to try and discover who Helmut is – and thanks to him, Helmut could act again.„This film is also about the impossibility of really getting to know somebody, the question of what methods you can use to move towards an individualʼs core. Iʼm not sure that interviews are the best method.“ A. Horvath
Helmut Berger, Actor
Austria / 2015 / 90 min.