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24th Ji.hlava International Documentary Film Festival

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Displacement
Displacement
Displacement
Displacement

Displacement

director: Guli Silberstein
original title: Displacement
country: United Kingdom
year: 2019
running time: 5 min.

synopsis

The image’s fragile cohesiveness, disturbed by digital disintegration and overlays to create a visually impressive composition, emphasizes the need to think about remediated messages on the subject of nationalism and militarism, for the filmmaker works with images of Palestinian fields being burnt by Jewish settlers and vows taken by Israeli soldiers at the Wailing Wall in Jerusalem.

“My work tracks patterns in nature, landscape and human form, perceived by camera and mind, struggling to comprehend the vast intensity of the living experience of the world through electronic media.“ G. Silberstein     

biography

Israeli artist Guli Silberstein (1969) lives and works in London. In his digital videos, he works with personal recordings and footage found in the media, which he “violates” using tools that distort the image. The result often feels out of focus and unsettling – a sense further underscored by the soundtrack. The Ji.hlava festival has shown numerous of his films since 2008.

more about film

director: Guli Silberstein
producer: Guli Silberstein

other films in the section

Hrvoji, Look at You from the Tower
An archeological collage of observations of the traces left by life on the landscape, combined with reflections on ephemerality and historical legacy, set to a music-and-noise composition. Motifs of reincarnation and a possible return, collected while traveling through the former Yugoslavia, culminate with a visit to an abandoned family farm, now accessible only by illegally crossing the border to the European Union. “Through collaborative ways of experiencing how history collides with the present, my work embraces the complexity of a landscape while in the process questioning my own nostalgic and desiring gaze.” R. Ferko
personal program

Hrvoji, Look at You from the Tower

Ryan Ferko
Canada, Serbia, Croatia, Slovenia / 2019 / 17 min.
section: Fascinations
European Premiere
Some Clouds Float Distant
A visual illustration of the process of remembering, when the mind associates the image of an object with similar images based on the person’s mental organization. These are more a reflection of his identity than an imprint of real things and events. “I’m interested in creating works that exist as experience themselves. I consider it necessary to implement the sensitive, the sensual, the experiential into the artwork: to appeal to an erotic of artwork.” G. E. Veloso

Some Clouds Float Distant

Gonzalo E. Veloso
Spain / 2017 / 6 min.
section: Fascinations
World Premiere
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
JEAN LUC NANCY
A miniature inspired by the leading contemporary French philosopher. The fragility of examining the possibilities of uniqueness and subordination in relation to something different. Objects here do not function as symbols; a crystal pendulum and anonymous figures highlight the multitude of loopholes and fundamental non-discursiveness of expressing delicate subjectivities. "The film is about the duality of one’s search for their own individuality versus the desire to belong." A. Zwirchmayr  

JEAN LUC NANCY

Antoinette Zwirchmayr
Austria / 2018 / 5 min.
section: Fascinations
World Premiere
The Will
A meditative evocation of the South Korean “Candlelight Revolution” in the winter of 2016/17. The hybrid mosaic, in which archival and contemporary footage is altered by visual manipulation and performative moments, shows artifacts, situations, and gestures reflecting the desire for political change.  "The sense of vulnerability facing the unimaginable change made it only possible to borrow the quotations from the past and the future." S. Kim, J. Cho  

The Will

Jenny Cho, Sungeun Kim
South Korea / 2018 / 20 min.
section: Fascinations
World Premiere
Firefly
A performative film that compiles close-up shots of concentrated faces with abstract images converging towards a distinct point of light and geometric shots of dancing figures to create an associative image of fireflies, which in Cuban mythology represent ghosts, echoes of fires, or souls passing in the night. “Through collaborative processes and experimentation, I make films that allow a sensory experience, expanding the spectator’s perception of the social/political/cultural/personal phenomenon portrayed.” C. Claremi 
personal program

Firefly

Claudia Claremi
Cuba / 2019 / 17 min.
section: Fascinations
World Premiere
Beyond the Mirror Rim
A collage of reflections on various artificial and natural surfaces forms fleeting, concrete and variable abstract visual compositions, with a voiceover meditation on forms of perception related to the acquisition and deepening of knowledge, from Antiquity to today’s technical and social influences on how we perceive the world. German director, photographer, cinematographer, and university lecturer Thomas Kutschker (1963) experiments with sound, mixing recordings from social networks from around the world with excerpts from old films to explore human fear and the yearning for knowledge. The Jihlava IDFF previously showed his films Shadow Worlds (2008), Me, Myself and I in the Age of Download (2010), and Financial Locations (Global Mash Up) (2015).“Words, sounds and pictures seem to be independent, disconnected as the appearance of light, shadow and reflexion themselves... But they are woven into each other and connected following their own logical construction.”

Beyond the Mirror Rim

Thomas Kutschker
Germany / 2016 / 14 min.
section: Fascinations
World Premiere
Distance
The filmmaker returns to a Hungarian village for her last visit to her grandmother. The blurring images emphasize the mental distance resulting from physical distance, but also the time that has passed since the childhood memories remembered in her quiet voiceover, which make up for the disappearing memories of the aging body. “The film grew out from a personal life situation when my grandmother got dementia at the age of 85. While she was losing her memories I tried to keep them even stronger than ever.” D. Zurbó

Distance

Dorottya Zurbo
Hungary / 2017 / 8 min.
section: Fascinations
Czech Premiere
Who's Afraid Of RGB
Another contribution of this authoress to the reflection of genre films, this time dealing with romantic melodrama, confronts the expressive character of the film medium with the viewers’ perception in radical juxtapositions of eyes closely observing the movie Who’s Afraid of Virginia Woolf? and spots of red, green and blue colours that bite into them accompanied by harrowing noises and music. “Who's Afraid of RGB plays with self-referentiality in art, with the relation between artwork and viewer, references to other works of art and to scientific fields, as here to psychophysiology.” B. Roisz 
personal program

Who's Afraid Of RGB

Billy Roisz
Austria / 2019 / 9 min.
section: Fascinations
International Premiere
not even nothing can be free of ghosts
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

Rainer Kohlberger
Austria, Germany / 2016 / 11 min.
section: Fascinations
Czech Premiere
Cry Havoc
A mass of protestors in remediated scenes, a becomes an expression of the strength and passion of the crowd, while dynamic abstractions and visual shifts show changing interpretations of people´s expressions within a crowd and of their reasons and objectives for protesting, all in a lightning-fast onslaught of media images. “Cry Havoc is part of a long-term research project in which video works process images of violence and protest from TV and online news media, studying the complex nature and impact of these images, and looking for new aesthetic forms.” G. Silberstein

Cry Havoc

Guli Silberstein
United Kingdom / 2017 / 5 min.
section: Fascinations
World Premiere
Impact-9.2
The filmmaker arranges 59,049 personal photographs (out of the long-term project) from 2002 and 2003, all of them created in the post-9/11 atmosphere, into repetitive geometric compositions to form a changeable structure of infinite possibilities for interpreting memories. Set to a musical composition inspired by Thomas Hardy’s poem “The Comet at Yalbury”. German-born filmmaker Thomas Mohr (1954) lives in the Netherlands. In his work, he seeks out new ways of generating images. Originally, he was drawn to abstraction; today it is digital photography. The Jihlava IDFF previously showed his film Gedankenstrich(e) (2014), in which he arranged images into regular grids to evoke a journey and pilgrimage across a landscape of text.“What d o we remember, what d o we forget and what d o we really learn? Based on 531,441 pictures taken in 30 years I’m exploring how our memories transform into experience.”

Impact-9.2

Thomas Mohr
Netherlands / 2016 / 10 min.
section: Fascinations
World Premiere
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