24th Ji.hlava International Documentary Film Festival
synopsisA surface rhythmised by reappearing image segments of a forest, gets projects during a walk, brought about also by the sound, into a space in which black-and-white and colour footage reveals monochromatic parts. These build up to create an effect of the third dimension, pulling our view into the depth and turning the ingenious schedule of the whole into a cognitive game using 3D representation.
"Below is not so much about borne suffering or the history of a memorial place. It tells more about the relation of depth-time and space-duration being interwoven in every moment of an image. " B. Spiegel
biographyGerman visual artist and filmmaker Björn Speidel (1976) often works with stereoscopic images and 3D technologies, using them to explore the relations between the meaning of his works and choice of medium. Using camera filters and masks, he tests the influence on viewersˈ perception and combinations of shapes and colours. He is visiting the Jihlava festival for the fourth time: in 2016, he screened his film Dead End, Rewind Reversal here.
more about film
other films in the section
A re-construction of the illegal smuggling of a family across the border from East to West Berlin in 1988. Told in photographs, the film shows a chilling story of escape in the trunk of a car and an encounter with agents of the East German secret police. The images’ unknown origin adds a sense of the universal and calls into question the course of events. "While researching my first feature, I stumbled across these photos in the Stasi archives and decided to try to make a story around them. I was shocked when I found out the true identity of the people " S. Calonico
The Escape Agents
United Kingdom, German Democratic Republic, Germany / 2018 / 5 min.
Made without a camera, using algorithms programmed to respond to the rhythm of light, this film explores the topology of dark space and tests the senses through vibrating light compositions whose rhythm of appearing and disappearing leaves a trace in the viewers’ minds even after they have left the darkness of the cinema. Austrian-born visual artist Rainer Kohlberger (1982) lives and works in Berlin. He creates experimental films, installations, and videos using algorithms to generate animations that he accompanies with life performance. He is a recipient of the ZKM AppArtAward for artistic innovation. His works test the limits of the viewer’s senses and play with the imperfection and subjectivity of human perception.“In my film, created out of ‘nothing’ with the help of algorithms, a constant pulse unveils materiality in a condition between being and non-being, since matter is merely vacuum fluctuations.”
not even nothing can be free of ghosts
Austria, Germany / 2016 / 11 min.
A visual miniature made of a single image strip, evokes the process of wandering through the landscape through both captured images and through images made by motion of their individual parts, resourcefully putting in use optic features of film imprint in order to let the scenes disappear in the structure of the material by blurring and slurring their outlines. “I build shutterless cameras to bypass sequential frame-by-frame recording and document reality using an uninterrupted flow of light. The world appears melted together in a single image shifting in time.” U. Petronin
Netherlands / 2019 / 5 min.
A frozen frame of a ten-lane boulevard lined by skyscrapers comes to life with past (or future?) movements, cars, advertisements, and people whose distinct as well as subtly visible traces struggle with the image’s punctum for an urgent actuality and the non-linearity of time, which moves forwards and back. Korean director Yi Myun (1973) studied musical composition. He lives in Seoul, where he works as a composer and video artist. The Jihlava IDFF previously showed his short film Field (2014), which explored themes of urban ecology. His films often combine traditional music-based soundtracks with melancholy views of urban landscapes that seem to live their own lives independent of human beings.“적 is the Korean title of this film and the sound of the word has diverse meaning in Chinese characters. It means: target, enemy, be right, build, trace, silence, advance, achievement, tread, watch, expose, angry, meet and fear.”
South Korea / 2016 / 3 min.
Inspired by the analysis of movement in the studies of Eadweard Muybridge and Etienne-Jules Marey, the filmmakers depict the movement of a person going upstairs – except that they use a mirror effect to give the images a new sense of time existing outside of reality, and they replace an analysis of motion with a construction of infinite reproduction.The original chronophotography enabled the depiction of the individual stages of motion through a series of photographs. In the 1870s, such photographs were taken using a flash exposure of a thousandth of a second.
Man in Motion, 2012
Christophe M. Saber, Ruben Glauser, Max Idje
Switzerland / 2013 / 3 min.
In rhythmically changing parallel scenes, this visual atlas of the underwater world shows animals and their natural movements, waving plants and growing crystals, but also the rooms, machinery and equipment at the Copenhagen aquarium that has exhibited these living being for more than 70 years. “While filming I was pulled into a melancholic and haunted realm. The collapsing aquarium became an allegory of a shared past and time itself. It represents an enchanted place where both the struggle to remember and to forget intertwine.”
Finland / 2016 / 9 min.
A digitally distorted seascape brings out the horizon, which together with the rolling waves creates a visually hypnotic abstract composition of horizontal surfaces, moving in time to minimalist piano music and electronically manipulated ocean sounds, in a seemingly continuous observation of the shore. “Each line with its own intrinsic ‘intuition’ metamorphoses my perception, exploring how all these personal, inner experiences, both illusionary and tactile, shift and transform into a visual poem.”
Latency, Contemplation 1
United States, South Korea / 2016 / 6 min.
Images of the landscape and man in it stutter, are lost behind defects, the loss of information and white noise, thus becoming a fitting metaphor for the restless region they depict. The basic building block is stone: it appears as a fortress and as hurled anger, in disintegrating images accompanied by the poetry of Israeli poet Yehuda Amichai, which was read 20 years ago when the first peace accord was signed between Israel and Palestine.“Oh, the poem of stone sadness, the poem thrown on the stones, the poem of thrown stones. Is there in this land a stone that was never thrown?”
United Kingdom / 2013 / 4 min.
After spending two years studying and collecting images created using various wet development processes for 16mm film, Wang explores the visual forms of material fluidity in order to celebrate invisible micro- and macrostructures whose chimeras are laid bare in moving patterns. "I am often inspired by the beauty of errors produced in analogue film production and use unwanted analogue visual noise and patterns, such as dust or watermarks to create imaginary cinematic landscapes." N. Wang
Netherlands / 2017 / 12 min.
Central European Premiere
Observing a volcanic crater opens up a narrative filled with allusions and intimations that create an imaginary city along the lines of the metropolis of Brasilia inside the Cape Verdean volcano Pico de Fogo. A projection of an urban plan creates a world of possible stories, while shots of the urban model take us on a walk along the geometry of the city where even the cloud cover has been calculated. Portuguese filmmaker Joana Pimenta (1986) lives and works in the USA and Brazil. Her films and video installations work with techniques from visual anthropology. Previously at Jihlava, she showed her film debut The Figures Carved into the Knife by the Sap of the Banana Trees (2014), in which she used invented memories to construct a dream correspondence between the Madeira islands and the former Portuguese colony of Mozambique.“There I found myself, time traveler, space archaeolo gist, trying to rebuild exoticism out of wrecks and remainders.”
An Aviation Field
Portugal, United States, Brazil / 2016 / 14 min.
Found 8mm home movies from safaris in South Africa and Zimbabwe in the 1960s – i.e., during the apartheid era. The filmmaker finds inspiration in Peter Kubelka’s avant-garde work Unsere Afrikareise and uses montage and editing to critically refl ect on the colonial representation of the African landscape. “Having lived in South Africa for almost a decade, I wanted to find an abstract way to reflect on my journey as a filmmaker and highlight my concerns regarding the visual misrepresentations of Southern Africa.” R. Horn
African Film School
South Africa / 2017 / 5 min.
Christiana Perschon shot her meeting with the artist Linda Christanell, a representative of Austria’s feminist avant-garde of the 1970s, on double 8mm fi lm without cutting. When shown, the fi lm’s split image shows footage of the two women fi lming one another to create a dialogue on seeing and being seen. “Every interaction with an image searches for its own form. Approaching someone with my camera is not a one-way encounter but an act of getting to know each other: I see you seeing me instead of looking at you.” C. Perschon
Austria / 2016 / 3 min.