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24th Ji.hlava International Documentary Film Festival

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Flesh Memory
Flesh Memory
Flesh Memory
Flesh Memory

Flesh Memory

director: Jacky Goldberg
original title: Flesh Memory
country: France
year: 2018
running time: 60 min.

synopsis

Finley Blake supports herself by performing live online erotic webcam shows. Because of this, her young son was taken from her and she is desperately trying to get him back. She is 33 years old and alone, with only her cat and the rats that inhabit her house in Austin, Texas. The film captures several ordinary days of her life – days in which she is so terribly alone yet still surrounded by people. She lives her life through computer monitors, isolated from the outside world. Although this is an observational documentary, its composition, often alternating image sizes, helps make the film’s pace even more dynamic. 

"Title came first. I was showering when I decided I would, one day, make a movie called Flesh Memory, about eroticism and the Internet. Then I met Finley. And everything suddenly made sense. Best ideas always pop up in the shower, don’t they?" J. Goldberg

biography

French director Jacky Goldberg (1981) is the creator of a number of short films, of which Far From Manhattan (2010) was nominated for a Golden Leopard at the Locarna Film Festival. He also directed a documentary about comedy film director Judd Apatow called This Is Comedy (2014) and produced the film Golden Slumbers (2012). In addition, he writes film criticism and contributes articles to numerous periodicals. 

more about film

director: Jacky Goldberg
cast: Finley Blake
producer: Jacky Goldberg, Sébastien de Fonséca Goldberg
photography: Alexandre Léglise
editing: Raphaël Lefèvre
music: Léonardo Ortega, Christophe Musset
sound: Romain De Gueltzl

other films in the section

The Wall
The Stalin Cult is once again gaining in strength in Russia. Every December 21st, the former Communist leader’s admirers gather to honor him on Red Square, at the site of his grave in the Kremlin Wall. In this observational documentary, the Russian director introduces the principle of “walking heads” – the majority of the footage consists of long takes showing the faces of the people waiting in line to place flowers and pay homage in front of a bust of Stalin. Accompanied by the sound of shuffling feet, a representative sample of various human types parades in front of our eyes, their faces reflecting almost a sacred reverence for a man who was responsible for the murder of several millions of their fellow citizens."Imagine thousands of Jews praying to Hitler’s grave. Impossible? How people can worship the one who annihilated them? In modern Russia we can witness a similar paradox." D. Bogolubov

The Wall

Dmitry Bogolubov
Russia / 2017 / 43 min.
section: Opus Bonum
World 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
Albertine Gone
This updating of the sixth part of In Search of Lost Time explores the current identity of Proust’s book. Through a staged docu-fictions with elements of performance art, the filmmaker strips the text, quoted by an employee of a fire station, of its period references, thus giving it new attributes. Since 1993, Véronique Aubouy has been filming people reading various parts of Proust’s masterpiece of literature. The planned date of completion for her monumental project, which sees the protagonist as an object in a cinematic landscape and the book as a signpost of various interpretations, is in 2050."Since my discovery of Proust’s Recherche I'm convinced  that this book is an expression of the Here and now. When I met Jean, fireman, nurse anaesthetist who had read la Recherche during his night guards, the film was there, here and now." V. Aubouy

Albertine Gone

Véronique Aubouy
France / 2018 / 34 min.
section: Opus Bonum
International Premiere
Expectant
If we look up the word "expectante" in a Spanish-English dictionary, we learn it is an adjective which can be translated as “expecting” or “biding one's time”. It is no accident this single-word title belongs to an disconcerting Peruvian film which takes its audience to a darkened city where a group of friends is spending an evening of leisure. Even though the neighborhood they live in is a relatively safe one, their locked doors and gates provide no more than an illusion of safety, which is a thought applicable world wide. The distant black-and-white camera through which the audience observes the plot seems to be biding its time for a chance to attack."I think cinema is about creating sensations and reaching out to a personal language as a way to manifest our vision as individuals." F. Rodriguez Rivero

Expectant

Farid Rodriguez Rivero
Peru, Portugal / 2018 / 77 min.
section: Opus Bonum
International Premiere
Things We Do Not Say
A video diary by a young Iranian actress, intended for her boyfriend living in exile. A lament of dashed hopes from the contested 2009 presidential elections, which were followed by the largest protests since the Islamic revolution. The filmmaker stages a parallel eight-year-old reality – the pre-election ecstasy is framed by an incomplete rehearsal of Macbeth. We relive situations that cannot be changed and that deeply resonate with the motif of coming to terms with reality. The actor’s hopeless gesture is balanced by a call for resisting totalitarianism and by an homage to the victims of the autocratic regime. The feverish atmosphere of the elections is muffled by the skepticism of the main protagonists – they, too, were once young and naive."Is there a void from which the sense emerges? Can we fill the emptiness by a reality, our own reality? The images that we remember, are they the same images, or reflections of those images?" A. Razi

Things We Do Not Say

Ali Razi
Iran, France / 2018 / 52 min.
section: Opus Bonum
World Premiere
Acts and Intermissions
This experimental documentary essay about American anarchist and political activist Emma Goldman (1869–1940), known as the “most dangerous living woman” of her time, is the second part of her directorial trilogy about women and ideology, in which she poses the fundamental question: what do women have to give up in order to more than “just women”? The filmmaker presents a rich collage of archival footage, reconstructed scenes, and observed moments from the present with the goal of exploring the resurgence of protests in the 21st century. Over several timelines, we see fragments of Goldman’s diary entries intertwined with moments from her life and prophetic speeches. “The 2nd in my explores Emma Goldman & Anarchism in a series of non-hierarchical fragmented ‘memory’ chapters. Each part asks what we give up to be more than merely female?” A. Child

Acts and Intermissions

Abigail Child
United States / 2017 / 57 min.
section: Opus Bonum
International Premiere
NU
“A terrible winter came. Snow was falling in endless flurry. The wind cooled down the air and the earth. The sun stopped shining. Three winters came without a summer that would follow them.” These words open the documentary dystopia conceived as personal correspondence between a woman/the nature and the last surviving man. On the background of images of natural scenery and desolate achievements of the civilization, a poetic confession of feelings is followed by descriptions of banal experiences and symbolic situations, all presented with a declamatory diction. In the last moments of humanity, the severed bond between the loving mother and her lost and rediscovered son is restored again.„You loved me as a male loves a woman, with his worst defects. You wanted to possess me, to dominate me, to control me, you wanted to strip me. You choked me, you devoured me. You loved me for you only, you took all I had. And you did not know you were going to die.“ F. Cousseau

NU

Frédéric Cousseau, Blandine Huk
France / 2018 / 54 min.
section: Opus Bonum
World Premiere
Day 32
Face to face with the possible end of the world, the filmmaker collects cinematic records of human existence as a message to someone or something that will come after us. This documentary essay erects a monument to the inventiveness and destructiveness of man, and its collection of images from the history of culture, war and sports forms a kind of ark, ready to survive the deluge. The natural elements assault the screen with all their might. The almost poetic voiceover offers a testament of life: at once generic and deeply personal. The director’s awareness of the inevitable end compels him to engage on an enigmatic journey in search of the places, people and phenomena of our civilization. “Two things always moved me: the end of the world and the end of images. I didn’t know they could come together, and was far from imagining they would be related. That’s how Day 32 was born.” A. V. Almeida

Day 32

Andre Valentim Almeida
Portugal / 2017 / 85 min.
section: Opus Bonum
International Premiere
Albâtre
Liquid landscapes, each one absorbed into the next, transform the screen into a painter’s canvas. The digital decomposition of images in live interaction with Carlos Grätzer’s music draw attention to the permeability between traditional and abstract painting as well as to the harmony between the fine arts, film, and music. Shots evoking Monet’s Impression, Sunrise, or Renoir’s secluded forest corners, break apart into a raster pattern and are transformed into a shapeless mass of colors that then grow into a new composition. While the impressionists depicted a static moment, Perconte captures a moment that is in constant motion."Albâtre reflects the desire I had to express the energy of this very special part of France where everywhere the wind carries the sea, where nothing is stable, and where I love so much to film: the coast of Upper Normandy between Le Havre and Dieppe." J. Perconte

Albâtre

Jacques Perconte
France / 2018 / 41 min.
section: Opus Bonum
World 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

Maria Iorio, Raphaël Cuomo
Italy, Switzerland / 2016 / 43 min.
section: Opus Bonum
International Premiere
Beyond the One
A cinematic treatise on diverse forms of affection, love and partnership, and the difficult search for an individual way of expressing these feelings in the face of tradition and social conventions. People from around the world talk about love intimacy, but also their dark side and the violence that can erupt when spontaneous emotions are smothered by compromise. The contrasting use of different film and video formats, combined with the asynchronous combination of sound and image, underscores the film’s specific openness resulting from the subjects’ courageous testimony. Does love die when it submits to conformity and becomes ideology?“I filmed only when I felt my images became a caring record of a moment of sharing and when the act of filmmaking offered us the opportunity to live. That is how obstinately solitary and radically plural this act can be.” A. Marziano

Beyond the One

Anna Marziano
France, Italy, Germany / 2017 / 53 min.
section: Opus Bonum
European Premiere
The Life and Death of Oscar Pérez
Óscar Alberto Pérez (1981-2018) was a Venezuelan policeman who, after Nicolás Maduro had been sworn in as president, became an active opponent of his regime. In June 2017, he attacked the Supreme Court of Justice from a helicopter. In January 2018, the Venezuelan national guard tracked him down, and although he gave up to them, shot him dead along with five other rebels. The film is his traditional portrait sketched out as a pattern edited documentary with Pérez himself having taken part in its making. Actually, all audiovisual material that the editor Romain Champalaune composed the film of comes from Pérez’s profiles on social networks. “Oscar Perez's story tells about the desperation in today's Venezuela but also questions our era. It reflects on our incapacity to change things in a complex world where social medias predominate.” R. Champalaune   
personal program

The Life and Death of Oscar Pérez

Romain Champalaune
France / 2018 / 45 min.
section: Opus Bonum
International Premiere
Ministerstvo kultury
Fond kinematografie
Evropská unie
Město Jihlava
Kraj Vysočina
Česká televize
Český rozhlas
Aktuálně.cz
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