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24th Ji.hlava International Documentary Film Festival

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Water supply
Water supply
Water supply

Water supply

director: Ada Kviraia
original title: Vodozabir
country: USSR
year: 1987
running time: 16 min.

synopsis

A poetic look at the work of a man from an Abkhazian port town who looks after the nearby woods and hillsides. The expansive hilly pastures, mountains, animals, and rivers form the setting for a rural idyll and symbolist scenes in which the man frees a wolf from a trap or cleans a creek bed.

biography

Abkhazian director Ada Kviraia studied in Kyiv and then returned to her native country, where she works to develop the local film industry. In 2013, she made probably the first film reflection on the Georgian–Abkhazian conflict, Girl on a Balloon. Following in the footsteps of Tengiz Abuladze, she is a leading representative of poetic film in the Georgia–Abkhazia milieu.

more about film

director: Ada Kviraia

other films in the section

Straight Line (Stevens Duke)
The first part in Gotovac’s trilogy of structuralist films is dedicated to jazz musician Duke Ellington and director George Stevens. A camera placed at the front of a moving streetcar records the passing urban landscape: the train tracks and the passing streets and pedestrians transport the viewer (now a passenger on the streetcar) fifty years back in time.

Straight Line (Stevens Duke)

Tomislav Gotovac
Yugoslavia / 1964 / 7 min.
section: Conference Fascinations
Czech Premiere
Vird
Vird is a film based on the idea of “manual cutting on set” using only lights to make cuts in the video. The only post-production was the composition of a soundscape fitting to the movements and cutting the frame down to smaller frames that would play a fraction of a second later or sooner than the next small frame. Vird is the result of wanting to break up movement in time, effected by surrealism and the “bad” girls in Věra Chytilová’s Daisies, and using the new way of editing.

Vird

Katrín Helena Jónsdóttir
Iceland / 2015 / 3 min.
section: Conference Fascinations
Hello, Moscow!
Using dynamic editing of a collage of black and white photos and a multi-layered soundtrack, the first photographic film in the history of Latvian cinema offers a portrait of Moscow in the mid-1960s. Under the symbols of power, hanging threateningly over the streets of the city, everyday life flows by, carefree and triumphant.

Hello, Moscow!

Gunārs Binde
Latvia / 1966 / 10 min.
section: Conference Fascinations
Czech Premiere
Termites
An accidental spill of developer on the negative film resulted in moving splotches whose motion, accompanied by rhythmic banging on a radiator, resembles a swarm of insects. Although Šamec intended his film as a parody of avant-garde movies, it was named best experimental film at the Genre Experimental Film Festival in Zagreb.

Termites

Milan Šamec
Yugoslavia / 1963 / 2 min.
section: Conference Fascinations
Czech Premiere
Litany of Happy People
This originally censored musical film is a satirical depiction of the inhabitants of Vojvodina, a rural region of Serbia characterized by its multi-ethnic population. Although it won two awards in Oberhausen, it was banned in Yugoslavia and Godina was long prevented from making experimental film. „I have always tried to find a new language or a form to implement into the film.” K. Godina

Litany of Happy People

Karpo Godina
Yugoslavia / 1971 / 14 min.
section: Conference Fascinations
Czech Premiere
Boxing
Ion Grigorescu’s conceptual film depicts a boxing fight of the author with his own image in a double exposure. The fight takes place in nudity, outside the boxing ring, without audience and the possibility of freeing yourself. Isolation becomes not only the source of suffering but also of internal strength. In the course of the action, the image of the winning boxer fades and the loser becomes prominent.

Boxing

Ion Grigorescu
Romania / 1977 / 3 min.
section: Conference Fascinations
The Idylls of Kirtimai
An observational anthropological study follows the life of the residents of the largest Roma settlement in Lithuania. Instead of the usual tendency to draw attention to their poverty, lack of education, and discrimination, the film focuses primarily on an ideologically unencumbered representation of everyday patterns of life.

The Idylls of Kirtimai

Artūras Jevdokimovas
Lithuania / 1991 / 13 min.
section: Conference Fascinations
Czech Premiere
Open the Door to Him Who Comes
The meditative landscape of a Lithuanian village filled with silent prayer. Tree crowns, church roots, and a rural homestead offer a silent sanctuary that withstands the pressures of the totalitarian regime.  Stonys foreshadowed his cinematic liturgy of ordinariness with his directorial debut.

Open the Door to Him Who Comes

Audrius Stonys
Lithuania / 1989 / 10 min.
section: Conference Fascinations
Clapper
Clapper is a heavily edited short film combining footage of political protests from pre- and post-WWII. It is considered one of the first “found footage” films made in Poland. The film incorporates Janis Joplin’s track “Summertime” as a soundtrack to the chaotic scenes.

Clapper

Wojciech Bruszewski
Poland / 1971 / 6 min.
section: Conference Fascinations
The Only Way
A view of the socio-political reality of the Republic of Latvia before it was liberated from Soviet domination. The monochrome collage subvert the symbols of totalitarian power, shatters and breaks down propagandistic images of workers and former political representatives, and reveals the emptiness of their fragile ideological convulsions.

The Only Way

Viesturs Grazdanovics
Latvia / 1990 / 6 min.
section: Conference Fascinations
Central European Premiere
Market
Market is a time-lapse film capturing a busy market square in Łódź shot in 1970. The short film consists of photographs taken every five minutes over a nine-hour period and by doing so projects the busy market as a constant stream of movement and business.

Market

Josef Robakowski
Poland / 1970 / 4 min.
section: Conference Fascinations
The First Photo of Me Ever Taken
A minute-long self-portrait shows an archival photograph of Milenko Jovanović as a child, relativizing the reliability of historical artefacts in relation to unreliable human memory. Using a flicker effect, the static photograph became animated in time. The author highlights the structural qualities of both these media, the permanence of photographs and the ability of film to capture movement, and their effect on the perception of what is portrayed.

The First Photo of Me Ever Taken

Milenko Jovanović
Serbia / 1972 / 1 min.
section: Conference Fascinations
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