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24th Ji.hlava International Documentary Film Festival

ji-hlavadok-revuecdfEmerging producersInspiration Forum
Portbou

Portbou

director: Agata Mergler, Cristian Villavicencio
original title: Portbou
country: Spain, Canada
year: 2016
running time: 4 min.

synopsis

An exploration of the place, plants, stones, and buildings in a village located in a rocky bay in northeastern Catalonia near the French border, where Walter Benjamin died and is buried. A tactile encounter with a place, made using a prototype haptic camera that records the objects its user touches from unexpected perspectives. Agata Mergler is a postgraduate student of the humanities at Canada’s University of York, where she is involved in developing apparatus that record what their users touch. Cristian Villavicencio Ruiz (1984) is from Ecuador and is studying at the University of the Basque Country in Leioa. His work explores the relationship between tangible and visible perception and how it changes during the digital transfer of stimuli using modern technologies.

“In our collaborative work using DIY digital prototype ‘haptic cameras’ provides us with opportunity to question the hegemony of the visual and the role of touch in moving image production.”

biography

An exploration of the place, plants, stones, and buildings in a village located in a rocky bay in northeastern Catalonia near the French border, where Walter Benjamin died and is buried. A tactile encounter with a place, made using a prototype haptic camera that records the objects its user touches from unexpected perspectives. Agata Mergler is a postgraduate student of the humanities at Canada’s University of York, where she is involved in developing apparatus that record what their users touch. Cristian Villavicencio Ruiz (1984) is from Ecuador and is studying at the University of the Basque Country in Leioa. His work explores the relationship between tangible and visible perception and how it changes during the digital transfer of stimuli using modern technologies.

more about film

director: Agata Mergler, Cristian Villavicencio
producer: Agata Mergler, Cristian Villavicencio
photography: Agata Mergler, Cristian Villavicencio, Agata Mergler
editing: Cristian Villavicencio

other films in the section

Derrubada não!
Out of the forests of north-eastern Brazil, an essay on the relationships with nature, location and soil grows out, developing into musings on the configuration of space, proprietary demands and care about landscape. Against the background of biological diversity, which stands for a commentary from the perspective of history and culture, it introduces the issue of ownership of forests, conceivably by those who inhabit them. "Kaleidoscopic and impressionistic views from a site in the in Brasilian 's sertão in which anthe Atikum artist Edson Barrus has preserved a tree: the Imburana which is a specy in danger. " Y. Beauvais
personal program

Derrubada não!

Yann Beauvais
Brazil / 2019 / 23 min.
section: Fascinations
European Premiere
The Bed and the Street
Protests against austerity measures, read as an expression of resistance to the state, are intermingled with an expression of intimate consonance. A demonstration of connection, this essayistic collage blurs the boundaries between private and public as it reflects on the politics of co-existence. "What if the revolution started at home, in the micro-politics of hand to hand, of our kitchen life, our bedroom life? If we said no to the old models of family, could we bring together bed and street?" M. Hoolboom, H. Frise  

The Bed and the Street

Mike Hoolboom, Heather Frise
Canada / 2018 / 5 min.
section: Fascinations
World Premiere
Field of Infinity
Inspired by Italian Renaissance art, the filmmaker transforms news reports of protests in the Gaza Strip into a painting of people and the landscape, as if the boundaries of fields and meadows were a place for overcoming political limitations and the ability of an expansive viewpoint presented the ideal of inhabiting the visible.  "The struggle for liberation intertwines with nature rejuvenation, creating an array of reflections." G. Silberstein  

Field of Infinity

Guli Silberstein
United Kingdom / 2018 / 5 min.
section: Fascinations
European Premiere
Becoming American
The barcode from Form N-400 – the application for U.S. citizenship – is “naturalized” (a reference to “naturalization,” the term for becoming a U.S. citizen into the image, which is thus transformed into an abstract portrait of the applicant. At the same time, it is converted into sound by reading the visual code with an optical sound reader. Christina Nguyen (1988) hails from Los Angeles and studied visual art and media and molecular biology at the University of California in San Diego. She also received an MFA in film/video from the California Institute of the Arts. Edgar Jorge Baralt (1988) was born in Venezuela and studied film production at the University of Central Florida and at the California Institute of the Arts near Los Angeles, where he currently lives and works. His films explore the subjects of memory, time, and the changing nature of human identity.“The electronic version of the N-400 application form generates a barcode as personal information is entered. We take this conversion of identity into data further by turning this barcode into an audiovisual experience.”

Becoming American

Christina Nguyen, Edgar Jorge-Baralt
United States / 2016 / 1 min.
section: Fascinations
World Premiere
Obatala Film
An anthology of rituals, masks, skin paintings, and other decorations, captured from up close in Ile-Ife, the legendary holy city of the Yoruba, who live primarily in southwestern Nigeria but also in some parts of Latin America and who consider the god Obatala to be the creator of Earth and of human bodies.  "I understand my cinematic practice as an inquiry into modes of experience and as a gesture of channeling. One of them could be the state of devotion and possession by spiritual and cosmic forces. " S. Wiedemann  
personal program

Obatala Film

Sebastian Wiedemann
Nigeria, Brazil, Colombia / 2019 / 7 min.
section: Fascinations
International Premiere
La Mesa
Genre conventions cleverly broken down with animations, breaking through the scenery of rural Mexico, where in the area surrounding the director’s family farm, symbols of stories of physical desire conceal a layer of idyllic childhood memories and come into conflict with the traditional concept of masculinity and identity expression.   "By centering queer desire within the story of my Mexican-American family, I validate my own lived experience as well as challenge popular representation of masculinity, power and vulnerability." A. G. Gomez  

La Mesa

Adrian Garcia Gomez
United States / 2018 / 10 min.
section: Fascinations
International Premiere
below
A 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
personal program

below

Björn Speidel
Germany / 2019 / 7 min.
section: Fascinations
World Premiere
We Still Have to Close Our Eyes
A compilation of behind-the-scenes footage shot while filming various Filipino films, including those of Lav Diaz and Erik Matti, creates a sense of quiet tension. In the style of slow narrations and in-depth observation, the film builds a dystopian sci-fi narrative of human avatars controlled by applications but is also a commentary on the various forms of contemporary Filipino cinema.    “They say once a filmmaker becomes a parent, that person stops making films. The Remote Daddy Framework is a way for me to go out of the house to document in spurts of three hours to repurpose and make" J. Torres
personal program

We Still Have to Close Our Eyes

John Torres
Philippines / 2019 / 13 min.
section: Fascinations
European Premiere
Engram of Returning
Fragmentary images reflect the ability of the neural network to preserve an imprint of what we see (even if as a mere flash) and provide a strong visual experience from specific found motifs that dissolve into their constituent parts, while encouraging moments of intense introspection and leaving room for our imagination, all of it presented as a provocative dialogue with immediate memory. Daïchi Saïto hails from Japan but studied literature, Hindi, and Sanskrit in the USA. He first started working with film in Montreal, where he co-founded the Double Negative art group. He is an author of many short films and video installations. Jihlava IDFF screened his rees of Syntax, Leaves of Axis (2009).“My films d on’t talk about so cial or political issues, but instead it is important for me to think about the mode of filmmaking as having so cial and political implications.”

Engram of Returning

Daïchi Saïto
Canada / 2015 / 18 min.
section: Fascinations
Czech Premiere
Requiem
This slow-moving film creates intensive experience of continuously nearly indiscernible - yet in the length of the whole film invariably distinct - changes of shadows, spaces and shapes carved by dark branches into the light mist that besets the statue-like steadiness of the thickening forest just to relinquish it the very next moment. “I wrote poems on the streets, wary of irresponsible parables of nature. The imagination of the street was pain and I loved it. But I still believe that the greatest subverbs are in nature.” M. Yi       
personal program

Requiem

Myun Yi
South Korea / 2019 / 11 min.
section: Fascinations
World Premiere
Fields in Mist
Patiently persistent mist conceals trees in the Eden River valley in northwestern England in a restless image draws the viewer’s attention to the visible image field, while its frame emphasizes the border of the unseen in the phenomenological stillness of the implied landscape. John Woodman (1948) focuses on experimental film and video art, about which he has even written a number of books (Structure of Chance, In Search of the Sacred, Sequences). One of the primary themes of his work is landscape and how it is differently perceived in relation to time, season, and light. His work has been presented at many international festivals.“Fields in Mist, filmed through heavy fo g, is an investigation of light, duration, revelation, visual appearance and disappearance. The scene is gradually revealed and then obscured by mist presenting a reflexive and contemplative viewing experience.”

Fields in Mist

John Woodman
United Kingdom / 2015 / 8 min.
section: Fascinations
European Premiere
Disintegration 93-96
The personal insecurities and pent-up emotions of a Filipino immigrant to the USA give way to political ruminations and critical commentaries on the colonization of the mind by the American Dream. A montage of family movies from the title’s years presents an anatomy of family ties and a reliving of one’s own identity. “With every project I think I learn filmmaking from scratch, all over again in a new way, and I say ‘fuck that’ to whatever process I did before.” M. Reverza

Disintegration 93-96

Miko Revereza
United States, Philippines / 2017 / 5 min.
section: Fascinations
East European Premiere
Ministerstvo kultury
Fond kinematografie
Evropská unie
Město Jihlava
Kraj Vysočina
Česká televize
Český rozhlas
Aktuálně.cz
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