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23rd 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

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
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
Displacement
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     
personal program

Displacement

Guli Silberstein
United Kingdom / 2019 / 5 min.
section: Fascinations
World Premiere
On the Border
The filmmaker takes hundreds of photographs of ocean trash that has washed up on the shores of Japan and uses the photogrammetry technique to turn them into sculptures. When filmed in the virtual space, they become mementos of environmental irresponsibility and examples of the excesses of our affluent way of everyday life. "Looking through the eyes of new technologies, we can have unexpected and incredible views of the reality." Y. Nishimura  

On the Border

Yoshiki Nishimura
Japan / 2018 / 7 min.
section: Fascinations
World Premiere
CAMERA (Notes on Film 10)
A meditation on surveillance, dramatized by a person having panic and anxiety attacks in a white room with no doors or windows. The filmmaker reflects on the omnipresence of seemingly inconspicuous observation. The impossibility of a hidden camera’s objectivity is emphasized by reactive changes in its angle of view when the person attacks it. Austrian filmmaker and curator Norbert Pfaffenbichler (1967) is a pioneer of video art and a founding member of the VIDOK art group. His works often combine electronic music and abstract projections. Pfaffenbichler was the curator of the important group exhibition Abstraction Now at the Künstlerhaus in Vienna (2003), which worked with computergenerated sounds. Previously at Jihlava IDFF, he showed his film Intermezzo (Notes on Film 4) (2012).„Camera is a short étude on the topic of the invisible camera. it is part of my ‘notes on film-series ’ which deals with different topics from the history and theory of film.”

CAMERA (Notes on Film 10)

Norbert Pfaffenbichler
Austria / 2015 / 13 min.
section: Fascinations
Czech 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
Colombia, Brazil, Nigeria / 2019 / 7 min.
section: Fascinations
International 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
South Korea, United States / 2017 / 8 min.
section: Fascinations
Czech Premiere
rack-pinion (wired-glass No.4)
As the film comes undone from the projector, the perforated edges become visible and reveal the illuminated image as an imprint of light. Splotches of colour with vague meanings enter into the picture frame. “In the early 19th century, watches had a rack and pinion lever escapement. No longer used, I still find it endearing and try to create a similar beauty in my own way.” H. Kawaguchi

rack-pinion (wired-glass No.4)

Hajime Kawaguchi
Japan / 2017 / 4 min.
section: Fascinations
International Premiere
#57
A visualization of the workings of the high-frequency oscillators once used to test military sonars and medical ultrasound devices is juxtaposed with abstract illustrations of a Chinese mathematician’s differential equations, and their visualization through analogue computer processes shows the subtle exactness of changing textures.  "Technology is a deforming mirror that shows us what humans think and do. For that reason I make my work in a dialogue with machines that I develop myself, trying to learn from what they tell us." J. Rekveld

#57

Joost Rekveld
Netherlands / 2018 / 14 min.
section: Fascinations
Central European Premiere
Dushanbe
Through the use of animation, the backlit photographs blend with the director’s aunt’s memories of the mountains, the local views, and the inside of the home from which she was forced into exile. The fragments of memory offer insight into life in the diaspora through architectural projects by which the aunt has recreated her native Tajikistan in her new home in Darmstadt.   "Film is grounded in found footage through the photographic, constructing an assemblage from fragments of exile. I focused on colour, texture, and materiality in both image and sound, resuturing diasporic time and space through the slowed-down gesture of animation." K. Friesen  

Dushanbe

Kandis Friesen
United States, Canada / 2018 / 5 min.
section: Fascinations
European Premiere
Mold
The image of a city broken down into a series of planes of view rolls towards us, its echoes enabling us to fill in the imaginary whole. This urban symphony of minimalism builds up a panoramic view into the distance while calling into question reality by visualizing the overcrowding of the urban environment.  "Life is surprisingly simple. Because all human beings are in a moment of repetition of the irreversible destiny of nature. Everything is only a trace and disappears." M. Yi

Mold

Myun Yi
South Korea / 2018 / 3 min.
section: Fascinations
World Premiere
The Shifting Sands
Philosophical reflections on Israel blend into a personal struggle for identity: The filmmaker’s father came to the British Mandate of Palestine in 1946 as a Jewish refugee. The call for harmonic co-existence is imprinted in the falling grains from one image into another. Some of the scenes come from the documentary film Israel: Land of Destiny (1977, dir. Jacques Madvo).  "By constructing the film entirely with an optical printer, moving images and pictures are drawn to rhythm and meaning. The philosophical words of Martin Buber invokes the reflection upon the reality." M. Piller  

The Shifting Sands

Madi Piller
Canada / 2018 / 9 min.
section: Fascinations
European Premiere
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