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24th Ji.hlava International Documentary Film Festival

ji-hlavadok-revuecdfEmerging producersInspiration Forum
The Grid

The Grid

original title: Mřížka
running time: 90 min.

synopsis

Artists: Zbyněk Baladrán, Daniela Baráčková, Filip Cenek, Vladimír Houdek, Barbora Kleinhamplová, Tomáš Moravec, Lucia Sceranková, Jan Šerých, Roman Štětina

Curator: Karina Kottová

A selection of films, video-essays and videos in a curatorial concept of Karina Kottová (Jindřich Chalupecký Society) stems from an attempt to systematically merge the approaches of visual artists and the possibilities of presenting their moving image works, which are usually displayed in a gallery setting, in a form of a linear film screening. The connecting motif of the selected works is a certain type of geometry or structural grid, which becomes the holder of a narrative: in some cases a completely abstract one, or even lyrical, in other times engaged, touching upon systems we live in, the question of work, everyday concerns as well as their possible alternatives. The selection itself has its own rhythm; the individual works create the storyline through diverse combinations of text, image, sound and motion.

The selected artists have previously been finalists or winners of the Jindřich Chalupecký Award.

works:

Tomáš Moravec, Otázka líbivosti pláště / Question of Superficial Affection, 3'51'', 2012

Zbyněk Baladrán, Teorie práce / Theory of Work, 13'19'', 2007

Roman Štětina, Studio č. 2 (Klapka) / Studio no. 2 (Slapstick), 4'32'', 2013

Barbora Kleinhamplová, MPEG Girl, 8'31'', 2016

Filip Cenek, Bez názvu (Cesta mlhou) / Untitled (Traveling through Fog), záznam z instalace / installation documentation, 4'09'', 2010–2013

Vladimír Houdek ve spolupráci s Hanou Polanskou Turečkovou / In collaboration with Hana Polanská Turečková, Kanoucí šíře / The Trickling Expanse, 18'4'', 2014 

Daniela Baráčková, Macocha, 0'40'', 2013

Jan Šerých, Paramnesia, 6'39'', 2009

Lucia Sceranková, Cucurrucucu, 4'28'', 2009

other films in the section

Prerequisites and Emergence of FAMU’s Documentary Department in 1963-1970
What are the ideological concepts behind the emergence of documentary film as a separate field of study at FAMU? How is the documentary approach to film specific and unique? How can this specificity be reflected in the teaching and how does it differ from journalism? Documentarian Viola Ježková will try to answer these questions. The workshop will be supplemented with examples of student film exercises. Participant input and discussion will be welcomed.---Kurátorka programu a autorka textů / Curator and author of the texts: Viola Ježková

Prerequisites and Emergence of FAMU’s Documentary Department in 1963-1970

section: Workshops
Jugs of Franz Maxera at Hospoda U Lojzy
An opening reception for an exhibition of jugs by ceramic artist František Maxera is slowly transformed into a wild alcohol-fueled party with an acoustic concert by the members of the Plastic People. Recorded at the U Lojzy pub in Prague’s Vinohrady district.

Jugs of Franz Maxera at Hospoda U Lojzy

Jan Ságl
Czechoslovakia / 1973 / 9 min.
section: Workshops
Open Fortress
The film deals with events at Masaryk University in Brno during one academic year against the background of annual celebrations of historic events that helped to shape the academy’s present orientation. Through a large number of annual events and rituals with graduation ceremonies as their peak, the film asks questions about the continuity of university traditions and whether they still hold their original meaning: a quest to seek truth in the free world populated by students and professors. The film will be co-screened with Universities and Freedom. A Q&A session with guests is planned after the screening.
personal program

Open Fortress

Ivo Bystřičan
Czech Republic / 2019 / 52 min.
section: Workshops
Miloš Šejn: Stream, Tree and Stone
The works of Miloš Šejn from the 1970s represent an unusual form of landscape film. It is based on a combination of land-art and physical performance, and can be perceived as both lyrical and spontaneous, but at the same time, silenced and concentrated. It uses the camera as an extension of vision and of the body and also as a tool to capture physical contact with nature, often in conjunction with extreme physical experiences. His films testify of his own experience as well as of the role of man in the surrounding ecosystem. With the filmmaker himself acting an active participant in the event, the National Film Archive will present a selection of his newly digitized films, some of which will be screened for the first time.The Workshop is led by Martin Blažíček Through the Maple Mine, 1977, 7 min   Mumlava, 1978, 7 min   Zívr's Prachov Rocks, 1978, 7 min   Journey, 1979, 7 min   Ravine, 1979, 23 min   Braun's Nativity Scene, 1985, 3 min  
personal program

Miloš Šejn: Stream, Tree and Stone

Czech Republic / 90 min.
section: Workshops
World Premiere
Vlado, Marienka, Jojo and Grandfather
Using reconstruction methods and the protagonist’s personal commentary, this Flahertyesque documentary takes a look at the life of an 80-year-old man who is raising his three grandchildren, whose mother has died and whose father has abandoned them. It is not, however, merely a lecture about practical activities, but rather about the principles and values he introduces to the children.“In addition to a pure idea, Sýkora inserted immense and pure emotion into his film – love and admiration of a person, honoring his life and his work.” Antonín Navrátil

Vlado, Marienka, Jojo and Grandfather

Pavol Sýkora
Czechoslovakia / 1965 / 21 min.
section: Workshops
noimage
The film focuses on the disillusionment that occurs during the transition from boyhood to manhood. The protagonist, a vision-impaired boy, who prefers to hold a model airplane in his hands rather than a clarinet. Life in a dormitory and intensive schooling awaken questions in him regarding his own self-determination. The asynchronous sound and off-screen commentary add a dreamlike energy to the film.

Atomic Bach

Eva Horská
Czech Republic / 1965 / 16 min.
section: Workshops
Scenes from the Underground. The Films of Jan Ságl, 1971–1974
Jan Ságl (*1942) is considered the court photographer of the Czechoslovak underground of the 1960s and ’70s. He also shot a total of 12 short films in 1971-1974. With a Super-8 camera, he photographed and filmed scenes from the underground, including concerts and happenings. Because he was a past of this closed community, his camera and hand-held spotlight had direct access to people and events, allowing him to create a captivating record of the atmosphere of underground culture.---Kurátor programu a autor textů / Curator and author of the texts: Martin Blažíček, FAMU CAS

Scenes from the Underground. The Films of Jan Ságl, 1971–1974

section: Workshops
Samizdat
While on a trip with Ivan M. Jirous, Jan Ságl came across several dozen metal printers’ plates hanging out in the open landscape. A much-needed product in samizdat circles, the plates were being used to scare away birds. The film shows a sun-drenched landscape with scattered silver points arranged in random constellations like some kind of land-art. It is loosely inspired by Zorka Ságlová landscape interventions, which Jan Ságl regularly helped to realize and document in his photographs, and in which a large role is played by the juxtaposition of the landscape with objects of a more geometric nature

Samizdat

Jan Ságl
Czechoslovakia / 1972 / 11 min.
section: Workshops
Jan Novák: Guns, Pucks, Beer, and Dogs
Jan and Adam Novák’s documentary comedy offers a look at army hockey under socialism. Through intimate interviews and selected gems from the Army Film Archives, they introduce us to the mentality of Czechoslovakia’s hockey soldiers and officers. Czechoslovakia’s most famous hockey players and the chairman of the joint chiefs of staff explain what it was like to train and play for the army’s hockey clubs, what units they served with and what their role in the event of war would have been, how they were promoted, and how they smuggled glassware, vodka, money, and hockey pucks through the Iron Curtain in order to bring laundry detergent back home. About mass “socialist” weddings of players, about breathalyzer tests before Sunday practice, about fulfilling their commitments and going to interrogations.  

Jan Novák: Guns, Pucks, Beer, and Dogs

Jan Novák
90 min.
section: Workshops
Mothers
Part three of this documentary series sees the birth of Jonáš, the first child of aid worker Petra and her Ethiopian partner Abel, during one stormy night. Lucie is left alone and without money during her postpartum period, but goes in search of her father and his new family in Tábor. Businesswoman Věra goes to visit her boyfriend’s family in Canada to tell them about her pregnancy, and along the way learns about the latest medical trends. Miky feels the effects of the hard work on her family farm, and her doctors urgently warn her to work less. At the end of the episode, she gives premature birth to a son, Josífek.  

Mothers

Linda Kallistová Jablonská
Czech Republic / 2013 / 45 min.
section: Workshops
Studio at Argentinská
A private concert by the Plastic People at their practice space in the now-demolished house (no. 1) on the corner of Dělnická and Argentinská Streets in Prague. Because of the cramped conditions, Ságl recorded the events in extreme close-up using his characteristic hand-held lighting. The close-ups are often on the border of being out of focus. This, combined with the bright light source, makes it one of the rawest and most original documentaries of its time.

Studio at Argentinská

Jan Ságl
Czechoslovakia / 1973 / 13 min.
section: Workshops
Hidden Welcomes. Speaking the truth in Chinese Independent Film
Gertjan Zuilhof is former programmer for the Rotterdam film festival. Although he is not a China, nor does he speak Chinese, he became good friends with numerous independent Chinese filmmakers. Zuilhof has chosen two recent independent productions to illuminate the situation of independent Chinese filmmakers today –Man’s World by artist/filmmaker Han Tao and Welcome by producer/filmmaker Zhu Rikun. Both deal with police brutality, but do so in very different and stylistically distinct ways. Spoken word is very important in both films – lies as well as the truth.---Dílnu vede / The Workshop is led by: Gertjan Zuilhof

Hidden Welcomes. Speaking the truth in Chinese Independent Film

section: Workshops
Ministerstvo kultury
Fond kinematografie
Evropská unie
Město Jihlava
Kraj Vysočina
Česká televize
Český rozhlas
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