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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

Synthetic-free
Wave follows wave. Real movements of the ocean, redrawn by computer-generated animation, flow into the picture frame in relation to real-time wind speeds, their visibility defined by natural light levels. The monotonous sound further emphasises the endless irregularity of the observed. “3D Computer Graphics have powers for making new images. They are mostly used for entertainment. However, they can surely be applied more to creating new methods and ideas for exploring experimental expressions.” Y. Nishimura

Synthetic-free

Yoshiki Nishimura
Japan / 2017 / 9 min.
section: Fascinations
World Premiere
1/8
The film’s title refers to the sharpness of human vision when compared to that of a hawk. The deformations and blurriness of the image, dependent on the density of photoreceptors, hide concreteness. The allusion to the myth of Icarus addresses questions of distance and clarity, while the meticulous rhythm of the narrative develops the themes of point of view and falling from great heights.“This film focuses on the world that exists outside of stories. By destroying the main story of man, I wanted to discover all that has been erased from him or that is trapped outside of him.” R. Hayama

1/8

Rei Hayama
Japan / 2017 / 13 min.
section: Fascinations
World Premiere
African Film School
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

Roger Horn
South Africa / 2017 / 5 min.
section: Fascinations
International Premiere
Shapes of Facts
Ghostly hills and inhospitable landscapes created by physically deformed newspapers are a critical allegory of the inner workings of the contemporary media world in which, beside journalists who still hold in esteem reliable and verified information, the voice of those crooking facts and creating parallel and alternative “realities” intensify by the day. “A fact is supposed to be specific and verifiable. The fact you are willing to accept makes your reality of this world. Watch out! There are many different versions of each fact.” Y. Nishimura
personal program

Shapes of Facts

Yoshiki Nishimura
Japan / 2019 / 10 min.
section: Fascinations
World Premiere
Out of Autofocus
An image of the sea that comes close to the boundaries of abstraction, set against a backdrop of fishing nets mounted on stilts. Birds disrupt the peace of the salty air with their unpredictable trajectories of rapid flight during which the camera fights to find a focal point, so that within the limits of its automatic functions it creates an engagingly lyrical scene. In his films, Mikhail Basov (1977) explores the interaction of consumer goods and materials in the landscape and their metaphorical implications. His works have been presented at a number of international festivals and shows such as International Video Art Biennial VIDEOAKT in Barcelona, Experimental Film Festival Portland, and Festival Art Deco de Cinema in São Paulo.“A short story about the unrequited love of a videocamera for a bird.”

Out of Autofocus

Mikhail Basov
Russia / 2016 / 2 min.
section: Fascinations
European Premiere
Latency Contemplation 2
Natural textures and close-ups of various surfaces of soil, rocks and water are vertically sliced and rhythmically abstracted. Within the stream of images, this tour of the outer world becomes a way of experiencing the landscape and its transformations, in whose regularity we can find stability and inner peace. “Cho´s internal visions and perception of the outer world come together in an abstract meditation on space, place and sound. Natural landscapes are pushed to the edge of abstraction through layering and other forms of manipulation.”

Latency Contemplation 2

Seoungho Cho
United States, South Korea / 2017 / 8 min.
section: Fascinations
Czech Premiere
Inside
Fragments of a body chiseled from darkness carve out a study of a nude female figure, sensual at specific moments, and in places disappearing into digital darkness. A lyrical treatise on intimacy and secrecy and an implicit polemic with a voyeuristic gaze create a longing for constrained completeness. "I dissect the perception and the mental state that arise while being watched, penetrated and examined and the experience of the viewer, involuntary being forced to follow the gaze of the camera." T. Kjellmark  

Inside

Tove Kjellmark
Sweden / 2018 / 10 min.
section: Fascinations
East European Premiere
An Angry Crowd
The paths of a flock of gulls diving for thrown pieces of bread are inverted into traces of light transforming the idyllic image into captivating abstract composition that evokes frenetic expressions of apparent anger or chaos. The effect is further underscored by his work with the sound, in which the cries of the gulls are converted into nervous echoes. “I’m working on the image and the sound /// in order to give new realities to ordinary life /// and share my audiovisual vision of the world /// in experimental video artworks /// since 2010.” J.-M. Rolland     
personal program

An Angry Crowd

Jean-Michel Rolland
France / 2019 / 4 min.
section: Fascinations
European Premiere
Morphology of a Dream
A visual composition based on a study of the rhythm of sleep cycles during REM sleep. The flowing images melt into overlapping splotches of color to create shapes of fleeting sleep images at various speeds, thus reflecting the impossibility of capturing any concrete motifs.   "Connecting my observation with an intuitive way of filming, I document phenomena in the natural world to reveal evocative visual rhythms through the ecstatic clash of color and form." M. Szlam  

Morphology of a Dream

Malena Szlam
United States, Canada / 2018 / 6 min.
section: Fascinations
World Premiere
Latency, Contemplation 1
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

Seoungho Cho
United States, South Korea / 2016 / 6 min.
section: Fascinations
Czech 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
Proof of Memory
Visual memories collected during the first year after the filmmaker’s graduation from university, altered using computer graphics to create disconnected particles of overlapping scenes showing various forms of depression from burnout, relationship crises, and a lack of physical and mental strength."Feelings that are impossible to be expressed by words can be shown through a camera or a computer." Y. Kawata

Proof of Memory

Yosuke Kawata
Japan / 2017 / 10 min.
section: Fascinations
Central European Premiere
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