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24th Ji.hlava International Documentary Film Festival

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abiding

director: Ugo Petronin
original title: abiding
country: Netherlands
year: 2019
running time: 5 min.

synopsis

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

biography

French visual artist and filmmaker Ugo Petronin (1985) lives and works in Rotterdam. Although he studied sociology and anthropology first, he ultimately graduated in film and visual art studies. In his current research, he focuses on issues of sequential character of in making a film, using the method of combining individual photographs into continuous motion.

more about film

director: Ugo Petronin
producer: Ugo Petronin

other films in the section

The Escape Agents
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

Scott Calonico
United Kingdom, German Democratic Republic, Germany / 2018 / 5 min.
section: Fascinations
World Premiere
Lviv Intervision
A found footage reminiscence of the beginnings of Ukrainian TV broadcast in 1957 and the first 20 years of its operations, when the first factory for manufacturing televisions began operating in Lviv, presents not only programs broadcast at that time, but also the way television transformed the household and family structures. "Despite it’s archival form, our film is not about the soviet past but today’s virtuality - a dramatic story of the the gaze and the sedation of a newly emerged TV-spectator, which continues until now." A. Onufrienko, S. Menzelevskyi, E. Parvulesco  

Lviv Intervision

Anna Onufrienko, Elias Parvulesco, Stanislav Menzelevskyi
Ukraine / 2018 / 14 min.
section: Fascinations
International Premiere
ENOLAEMEVAEL
This remake of Man Ray’s celebrated Emak Bakia (1926), which uses a cameraless method of creating hand-processed film images in high-contrast black-and-white, refers to the original film even in its subject matter as well: continuing with the motifs of death, it works with artifacts and documents from US drone attacks on Pakistani territory in 2015. Kathryn Ramey (1967) is an American filmmaker, anthropologist, and teacher at Emerson College in Boston. Through celluloid manipulation and hand developing film stock, she creates new audiovisual forms that search for points of intersection between anthropological studies and experimental film. Her works have received numerous awards at international festivals.“Combining experimental process - es with theoretical premises and anthropolo gy, my films and installations seek to deconsecrate the ‘real’ of conventional documentary and agitate the viewer to seek out subjugated narratives in dominant media culture.”  

ENOLAEMEVAEL

Kathryn Ramey
United States / 2016 / 7 min.
section: Fascinations
European 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
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
WHERE DO WE GO
Images recorded on a Lomography Supersampler, which photographs four immediately sequential moments on one frame of 35mm film, multiply the illusion of rhythmic movement and create a visual melody that hurtles forward, while the imprint of the moment remains fixed in place. The drum performance emphasizes the minimalist sharpness of the patterns. "Where do we go, in a time where borders are going to be closed again? The feeling of freedom has gone. I try to break down visual borders to rebuild a base for the spirit of freedom again." S. A. Fruhauf  

WHERE DO WE GO

Siegfried Alexander Fruhauf
Austria / 2018 / 4 min.
section: Fascinations
International 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
Elements 1,2,3
Tree, water, house. An exploration of particles of visual depiction and musical passages composed into impressions and unambiguities with the characteristics of movement, contrast and stylistic attributes that form the foundations in a study of the fragility and solidity of visual depiction. “Celluloid must go on!” T. Burlin

Elements 1,2,3

Tomaž Burlin
France / 2017 / 7 min.
section: Fascinations
East European Premiere
Dead End, rewind reversal
This inventive experiment with a stereo 3D image follows a train track ending at a ruined bridge and then back again through the forest. The focus is on the spatial perception of diverse depictions of the journey laid side by side, captured with a film camera and confusing the eye of the viewer with various overlays and inversions of time levels. “Stereo3D films shall be done such a kind that they make no – or another – sense if they where only in mono2D. What we know from flat filmmaking is no help. So filmmakers have to start from scratch again and spectators too.”

Dead End, rewind reversal

Björn Speidel
Germany / 2016 / 11 min.
section: Fascinations
World Premiere
3 Dreams of Horses
Raw film material consists in part of gelatin, which is made of the skin and bones of animals, including horses. The traces of light that shape our audiovisual dreams are thus imprinted on parts of animal bodies. Through the subtle use of audio, this found-footage collage focuses on images of the horse as an attraction, an animal of burden, and a mythological creature.  "In 1900 there were 130,000 working horses in Manhattan. Horses were a central part of our lives. Jeremy Bentham: "The question is not: can they reason? Nor, can they talk? But, can they suffer?" M. Hoolboom  

3 Dreams of Horses

Mike Hoolboom
Canada / 2018 / 6 min.
section: Fascinations
International Premiere
Pancoran
Motorcycles and cars are lost in the sound of traffic and disappear in bands sliced into film footage of Jakarta’s roads. The horizontal and vertical lines or checkerboard patterns emphasizing the density and chaos of the crowded roads were made by optically printing 16mm film. “Jakarta’s bikes are gloriously arresting. Unified into a flow and yet jerky and autonomous, like a visual ‘gamelan’ of motion, a disparate yet concordant ensemble. I tried to get close to its inherent musicality.” R. Tuohy

Pancoran

Richard Tuohy
Australia / 2017 / 9 min.
section: Fascinations
European 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
Ministerstvo kultury
Fond kinematografie
Evropská unie
Město Jihlava
Kraj Vysočina
Česká televize
Český rozhlas
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