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24th Ji.hlava International Documentary Film Festival

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The River Escapes
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The River Escapes
The River Escapes
The River Escapes
The River Escapes

The River Escapes

director: Eduardo Makoszay
original title: O Rio Escapa
country: Mexico, Brazil
year: 2019
running time: 9 min.

synopsis

An essay on exploitation of homes of native inhabitants and the behaviour of colonists breaks out into an anti-capitalist political pamphlet resulting in divergent horizontal and vertical motifs of a critical analysis of liberal cosmopolitan elites toward life space as a single-use, expandable commodity, contradicting its displaceable character.

"To build other worlds, one needs not to abandon western mind-structure but to transduce it with local, specific and ancient notions. This film is the beginning of a quest towards that realization." E. Makoszay Mayén     

biography

Mexican-born independent artist Eduardo Makoszay Mayén (1992) finished filmmaking studies at university in Mexico City. His authorial projects are positioned on the frontier of documentary and science fiction film. He has participated in many workshops and festivals including Jihlava IDFF where his film Wind Shaped Rocks (2017) was screened.

more about film

director: Eduardo Makoszay
producer: Eduardo Makoszay Mayén

other films in the section

Save (My heart from the world)
The movements of the ferry, creating additional disturbances in the waves of the Mediterranean Sea, enable the creation of colorful compositions, unexpectedly degraded algorithmic interventions of digital compression which in inventive surfaces and grids mask and repeatedly renew the authenticity of the record of the voyage, while the horizon becomes an escaping uncertainty. Jacques Perconte (1974) is a leading figure on the French avant garde film scene. He experiments with digital images, codecs, and compression algorithms that he himself creates. Thematically he focuses primarily on the relationships of contemporary culture and technologically advanced civilizations with nature. His work has been screened at past Jihlava IDFFs: L (2014), Les Moutiers (2012), and Ettrick (2015), among others.“The wind blew from the starting of the ferry. Offshore, the swell could make the travel difficult, but that boat would split the sea and project its Mediterranean blue in the golden sky and the fire light of the setting sun in the waves.”

Save (My heart from the world)

Jacques Perconte
France / 2016 / 10 min.
section: Fascinations
East European Premiere
I Would Leave Everything Here
The patient observation of the four seasons – daytime and nighttime events, manifestations of the natural elements, and the peacefulness of minimalist images – as seen through the window. A dramatic compilation of images into an extraordinary record of the ordinary flow of time. Croatian filmmaker, photographer, and audiovisual artist Ivan Faktor (1953) has been making art since 1975. In 1995, his film At Home was shown at the Venice Biennale, and he also represented his home country at the São Paulo Art Biennial. The Jihlava IDFF previously showed his film Self-Portrait (2006), in which a camera inside the filmmaker’s body records a journey through the human body in the form of abstract images, shadows, and rhythms.“... for here I would leave this earth and these stars, because I would take nothing with me from here, because I’ve lo oked into what‘s coming, and I d on‘t need anything from here.” (László Krasznahorkai)

I Would Leave Everything Here

Ivan Faktor
Croatia / 2016 / 11 min.
section: Fascinations
International 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
Where Shapes Come From
A description of non-randomness in the processes by which atoms join to form matter, accompanied by images from a museum laboratory. Subtle alterations to the real image are Formulas with scenes of a mineralogist’s work. Chemical equations and virtual bodies and shapes give form to the invisible processes involved in the creation of substances. “We spent an intensive three months as artists in residence in the Mineral Sciences Laboratory at the Smithsonian National Museum of Natural History; this is the work that came out. The green workshop has since been redecorated and is no longer home to all these amazing curiosities.” R. Jarman, J. Gerhardt

Where Shapes Come From

SEMICONDUCTOR
United Kingdom, United States / 2016 / 11 min.
section: Fascinations
Czech Premiere
N 34º 20’ 18” E 12º 42’ 05”
A concentrated look at the point in the Mediterranean Sea where a large number of migrants, including dozens of children, died on 11 October 2013. The series of dissapearing images becomes a call for providing aid to the boats trying to reach affl uent Europe. “Contributing to creating new dynamics of social autonomy and trying to offset systemic inequalities by making possible different socio political conditions through art.” A . Onco

N 34º 20’ 18” E 12º 42’ 05”

Adrian Onco
Spain / 2017 / 6 min.
section: Fascinations
World Premiere
Heavy Eyes Remastered
Consistent manipulation of found footage showing people and faces in an urban landscape dissolved their movements into visual echoes. The melancholy remnants of the original film are subjected to the digital poetry of blurriness and the loss of meaning, gestures, and physical movements. “Producing a film includes the process of creating copies. Duplication is built into the medium itself. The change in to new form creates a different experience, though nothing has changed in the content.” S. A. Fruhauf

Heavy Eyes Remastered

Siegfried Alexander Fruhauf
Austria / 2017 / 9 min.
section: Fascinations
World Premiere
Non-Places: Beyond the Infinite
This essayist collage visually develops French anthropologist Marc Augé’s concept of nonplace (ephemeral places characterized by anonymity or blurred identity) and turns images of highways and rest stops upside down, thus emphasizing the difficult-to-grasp images of these worlds “Marc Augé’s essay (Non-Places: Introduction to an Anthropology of Supermodernity) meets with Stanley Kubrick’s 2001: A Space Odyssey in some Hungarian highway rest areas.”

Non-Places: Beyond the Infinite

Péter Lichter
Hungary / 2016 / 6 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
more than everything
A pensive analysis of the vision and perception apparatus shared by all two-eyed beings gazes far ahead and in an intriguing perception experiment, explores the imagination of the depth of field and the illusory consistency of the image while dissecting the routine perspective on objects, shapes, motion and the phenomena around us."This is a dance between your brain and the world. We are bathed in interferences from sensual data to what might be out there. We will go to another land, we will try another sea. One plus one equals three." R. Kohlberger

more than everything

Rainer Kohlberger
Germany / 2018 / 13 min.
section: Fascinations
East European Premiere
Mayhem
Minor irregularities are transformed into an elemental disorder of growing, jumping, decaying and reappearing bubbles, only to become focused into a circle of changing colors. Using digital tools, the author depicts the simple process by which water boils and cools again. Japanese experimental filmmaker, producer, and computer artist Yoshiki Nishimura has shown several of his films at previous editions of the Jihlava IDFF. In Fascinating Moments (2014) he followed the choreography of snowflakes, An Observation (2013) is a composition of upside images of the sea, and Orbiting (2015) explored the changing light of the moon as it shines through a visually manipulated digital image.“By using different media, we have great possibilities of expanding our views of reality into various directions.”

Mayhem

Yoshiki Nishimura
Japan / 2016 / 10 min.
section: Fascinations
World Premiere
Home
A Cuban home as a non-place reflected in artefacts accessed through recollections, materials and textures. A delicate film poem is a collection of aberrations of the utmost intimate memory with scenes and activities referring to building, deconstruction, places and events that create associative reflections on the meaning of the term “home”.  “Starting from the portrait as a support and exploring its expressive possibilities, I enter into the reconstruction of beings and spaces that I have never known or visited.“ A. Alonso Estrella
personal program

Home

Alejandro Alonso Estrella
Cuba / 2019 / 12 min.
section: Fascinations
European Premiere
Concrete Cinema
Working with the principle of concrete music, the filmmaker layers and meticulously overlays images into such a mightiness that it creates abstract compositions of memories, thus exploring how they progressively change thanks to the selective nature of memory and the possible resolution of the digital medium. The work of Japanese filmmaker and programmer Makino Takashi (1978) is influenced by London’s Brothers Quay, and is marked by an eclectic approach that makes use of video art and a diverse range of cinematic techniques. Takashi sees the image and musical soundtrack as equal components in his work. His film Generator (2012) won the Tiger Award at the Rotterdam International Film Festival.“The challenge was to start from the concrete, go to the abstract, and then use the abstract to create a concrete abstractness.”

Concrete Cinema

Makino Takashi
Japan, Netherlands / 2015 / 24 min.
section: Fascinations
Czech Premiere
Ministerstvo kultury
Fond kinematografie
Evropská unie
Město Jihlava
Kraj Vysočina
Česká televize
Český rozhlas
Aktuálně.cz
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