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25th Ji.hlava International Documentary Film Festival

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A Man Leaning
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A Man Leaning
A Man Leaning
A Man Leaning
A Man Leaning

A Man Leaning

director: Marie-Violaine Brincard, Olivier Dury
original title: L'Homme qui penche
country: France
year: 2020
running time: 94 min.

synopsis

A film based on a diary written by Thierry Metz (1956–1997), a renowned French poet, in an alcohol rehab clinic a year before he committed suicide. A melancholic portrayal drawing on the writer's tragic private life and intimate poetry. Metz's lines are underscored by a slow train of images of construction workers building houses, treetops swaying in the wind, patients smoking behind the walls of the clinic. The film leads us through Thierry's private history, including the death of his son and the agony of his addiction – through the pain that results in desire to end it all.

“I look forward to the days to come in peace, from a distance, but with care. I have to kill someone deep inside myself, even though I do not know how to go about it. The most important thing is not to lose the thread.” T. Metz

biography

Marie-Violaine Brincard is a French documentary filmmaker and director. She studied film direction, audio-visual production and modern literature; currently, she pursues her PhD in modern literature. In her work, she focuses on political and human rights issues, such as genocide in Rwanda.

Olivier Dury studies cinema at the Vancouver Film School and begins to work as director assistant for different films (documentary, fiction, ads clip). He then become director of photography assistant, and finally director of photography on documentary production. His second film, Mirages, in 2008, wins many prizes of whom the first prize at the FIDMarseille festival. His last film, A Man Leaning, is co-directed with Marie-Violaine Brincard.

more about film

director: Marie-Violaine Brincard, Olivier Dury
producer: Carine Chichkowsky
editing: Qutaiba Barhamji, Marie-Violaine Brincard, Olivier Dury, Rodolphe Molla
sound: Philippe Grivel

other films in the section

noimage
FilmVHS makes use of footage shot by a Galician sailor on a ship in the North Sea, whose video camera kept him company during his dull life on a freighter. The film’s unusual patina of recorded memories comes from the fact that the original material was shot entirely on VHS, with all its technical deficiencies.

Vikingland

Xurxo Chirro
Spain / 2011 / 99 min.
section: Opus Bonum
East European Premiere
Dark Matter
A film with almost no words, about things that people do not usually talk about. Army testing has turned an Italian army firing range into a dangerous place for people and all nearby living beings. Not coincidentally, it is a place reminiscent of the Zone in Stalker – a place that arouses curiosity precisely through its forced negation of life. Dark matter is a hypothetical form of matter that does not interact with light. It neither emits nor absorbs light. Dark matter has no radiation and no shadow. And yet, scientists are convinced that it exists.

Dark Matter

Martina Parenti, Massimo D'Anolfi
Italy / 2013 / 77 min.
section: Opus Bonum
East European Premiere
noimage
FilmRETURN is Albert Serra’s latest uncompromising filmic vision, a follow-up to 2006’s Honour of the Knights (Quixotic). Serra is convinced that film should read like poetry. As a result, this film about film and actors plays out in small situations, intimations, and moods. Actors rest between scenes, argue, eat, and wait for the director in an arid landscape.

The Lord Worked Wonders in Me

Albert Serra
Spain / 2011 / 146 min.
section: Opus Bonum
East European Premiere
Missing
Once we begin to consider certain people, items, or memories as our own, we lay ourselves open to the threat that we’ll lose them. Once the loss actually occurs, our mental image of the lost thing doesn’t disappear – on the contrary – it intensifies. This documentary, inspired by the stories of missing people in Iranian newspapers, searches for people who have disappeared for various reasons, but their tracks still resonate. A wide spectrum of archival materials offers a variety of answers to the question of how the absent can remain present, while live images of grieving loved ones then act as an appeal to all those who would brush off this painful ambivalence. „It could be so simple at times. We just leave home and forget to return. Or don’t want to return. Or cannot return...” F. Sharifi

Missing

Farahnaz Sharifi
Iran / 2017 / 60 min.
section: Opus Bonum
World Premiere
Night's Drifters
Afghan immigrants Sobhan and Hamid fall asleep together underneath a bridge in the big city. Their difficult months-long journey from home has not been rewarded by a better life, but has been shattered by fears of the coming day. They live outside of time, hope extinguished in the French suburbs. Afghan defiance and enthusiasm are fractured within blurry images from mobile telephones and in endless dark nights spent by a makeshift fire. The fate of young immigrants, seen from a distance, offers a topical picture of more than one Middle Eastern country.  

Night's Drifters

Bijan Anquetil
France / 2012 / 45 min.
section: Opus Bonum
Central European Premiere
Appunti del passaggio
The 1960s saw a large wave of immigration from Italy to Switzerland, which was infamously accompanied by hurdles thrown up against this new workforce. Meditative static images reveal the places, the landscape, and the border between the countries that are a part of this story. Photographs and an intermezzo consisting of the reading of poems inspired by the diaspora add an emotional element. The notes of a young woman read as voiceover give the documentary a multilayered narrative that tells the story of the collective memory of a group of economic migrants and their working conditions, exploitation, and loss of dignity. “By critically examining the merging of political power and cinema, as well as various ‘aesthetics of reality’, the project proposes a convergence of past and present to question history through (hi)stories of migration, architecture and cinema.”

Appunti del passaggio

Raphaël Cuomo, Maria Iorio
Italy, Switzerland / 2016 / 43 min.
section: Opus Bonum
International Premiere
Touch
A highly subjective film essay that highlights the constructed nature of any work of art and of perception in general. After many years, a man returns home to New York’s Chinatown, where he recounts the story of his life and that of his dying mother in two languages. A film full of radical transitions between silence and words.“Chinatown is divided into two overlapping tribes: the watchers and the watched.” “I wanted to be photographer. I became a librarian cataloguing other people‘s lives, while secretly inventing my own.”

Touch

Shelly Silver
United States / 2013 / 68 min.
section: Opus Bonum
East European Premiere
Western, Family and Communism
The first shots of the film show Parisians demonstrating and protesting, interspersed with shouted political slogans of Iranian activists. While the situation is very heated in Paris, calmness reigns in Iran. A French family is traveling here in a caravan and getting to know the country. The father films footage of their journey including his wife and daughter. The first third of the film suggests that the issue is a national one, namely that of the Iranian citizens, while the remaining two-thirds shows, however, the French on holiday. From a formal point of view, the film comprises interesting shots taken with a handheld camera, as well highly-overexposed, almost white, shots and double exposures. „Perhaps politics is the multiple of experiments and inventions in an equation with two unknowns: ‚I‘ and ‚we‘. Rather than solve it, once and for all, it would be a matter of keeping trying. Once again. (Precarious springs of the peoples, Maria Kakogianni, 2017)“ L. Krief

Western, Family and Communism

Laurent Krief
France / 2018 / 83 min.
section: Opus Bonum
International Premiere
Misericordia: The Last Mystery of Kristo Vampiro
Experimental filmmaker Khavn de la Cruz claims that Misericordia was shot on a four-day trip in the Philippines, during which he recorded his family through a blood-red filter and accompanied violent images of cockfights or flagellant rituals with no less bloodthirsty hallucinatory voiceovers. Khavn presents a blood-filled point of view of the Filipino culture of pain and suffering. Even if most of the film had not been shot through a red filter, this colour would still dominate.

Misericordia: The Last Mystery of Kristo Vampiro

Khavn De La Cruz
Philippines / 2013 / 70 min.
section: Opus Bonum
East European Premiere
Lost Paradise
The life of the filmmaker, also the film’s main character, is determined by a double fear. On one side, her world collapses under the weight of personal and historical tragedies, on the other she is threatened by the loss of the memories of everything that is dear to her. In this documentary, which blurs the lines between personal and public, she attempts to preserve all traces of memories, whether they’re images of her deceased husband or the ruins of local Beirut monuments. Slowly flowing images, virtually free of musical accompaniment, give memory fragments emerging from the surfaces of material things, including the heroine’s body, space to have spontaneous effect. "This film evolves around the notions of disappearance and loss: individual death and disappearance of places, loss of personal memory and collective memory. " R. Mitri

Lost Paradise

Reine Mitri
Lebanon / 2017 / 61 min.
section: Opus Bonum
International Premiere
I Crossed the Hallway
A personal probe deep into the memories of a death. During the night, the director lost his father at his family home. He crossed the hallway, entered his parents’ bedroom, and his mother said, “Your father is dying.” The shock of this trauma plunges El-Amine into a state of absolute apathy. He wanders blankly through the house as memories of times spent together come back to life. Painful moments alternate with stylized commentary by relatives about the events of that night. The feeling of loss is projected onto many minor details in the film. The cacophonous musical soundtrack is as deafening as grief. Once again, film becomes a tool for coming to terms with death. “Time is no more than a constant renewal in I Crossed the Hallway. The film is a long road, a long corridor, which gives ways to either reality or dreams or souvenirs.” R. El-Amine

I Crossed the Hallway

Rabih El-Amine
Lebanon / 2017 / 38 min.
section: Opus Bonum
International Premiere
Backstage Action
This is de facto a film about a film, with the only difference being that the focus is exclusively on the extras. They are filmed while waiting to take their turn, while conversing with others, and thinking about their performances. Although they take their duties very seriously and long to be stars, for the filmmakers, they’re just people that can be coordinated as necessary, nothing more. This film, on the contrary, gives them full consideration, revealing their personalities, what they experience, and what they dream of. The footage comes from many different places where movies are made, involving extras from all different nationalities."The representative becomes a present body, a speaking body, he becomes an acting body, even a political body liberated from the stereotypes that pertain to the community he was supposed to represent." S. Azari 

Backstage Action

Sanaz Azari
Belgium / 2018 / 61 min.
section: Opus Bonum
World Premiere
Ministerstvo kultury
Fond kinematografie
Creative Europe
Město Jihlava
Kraj Vysočina
Česká televize
Český rozhlas
Aktuálně.cz
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