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24th Ji.hlava International Documentary Film Festival

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Mittelmeer
Mittelmeer
Mittelmeer
Mittelmeer

Mittelmeer

director: Jean-Marc Chapoulie
original title: La mer du milieu
country: France
year: 2019
running time: 73 min.

synopsis

A poetic documentary about the Mediterranean brings together a mosaic of images of the southern and the northern coast that the director, writer and poet Nathalie Quintane collected without traveling anywhere – they acquired them through hotel and other publicly accessible webcams. In this way, both of them walk the shores and beaches, rocks and ports, enhanced with the memories and conversations that JeanMarc shares with his son about the current problems of coastal countries. Suddenly the contrasts between the European, African and Middle Eastern shores of the sea are revealed.

"Webcam images placed around the Mediterranean Sea don’t have any deepness. They are like an ideal illusion of a unique world. A film has perhaps a chance to say it.“ J.-M. Chapoulie

biography

Jean-Marc Chapoulie (1967) is a French filmmaker and video artist. During the 1990s he worked with André S. Labarthe and Janine Bazin on the collection Films of Our Time. He is also an exhibition curator. Under the pseudonym Alchimicinéma, he presents hybrid sessions - conferences and performances, screenings and installations at the same time.

more about film

director: Jean-Marc Chapoulie
cast: Orso Chapoulie
producer: Elisabeth Pawlowski, Elsa Minisini
script: Nathalie Quintane
editing: Veronique Aubouy
sound: Zoe Chalaud, Mikael Barre

other films in the section

Sea Tomorrow
This observational documentary examines the disappearance of the Aral Sea and attempts at its restoration. At the location where the majority of maps and atlases show a large, majestic body of water, Katerina Suvorova finds only a largish pond and an arid wasteland, filled with the rusting remnants of wrecks waiting for scrap metal collectors. Shots of the enigmatic landscape, consisting of endless expanses of sand and dust, are alternated with captivating details. Just as fascinating is the strong will and faith of the people who have stayed in this inhospitable environment, such as old gardener, fishermen, and a hydrobiologist. They hope that the sea will return, they are fighting to save it, and they all hope for a better tomorrow. “I see people of the Aral region as a collective image of the last survivors on Earth. Their stories prove that even when the last shuttle abandons our racked planet, there will be people who stay and prefer correction of errors of the past to uncertainty of the future.” Katerina Suvorova

Sea Tomorrow

Yekaterina Suvorova
Kazakhstan, Germany / 2015 / 88 min.
section: First Lights
East European Premiere
My Unknown Soldier
Documentarian Anna Kryvenko offers an unusual perspective on the 1968 occupation of Czechoslovakia. She conceived My Unknown Soldier as an audio-visual diary, through which she revisits the events of the time with rare archive material and her own commentary. Her great-uncle was a soldier in the occupying forces; he committed suicide shortly after his return from Czechoslovakia. Kryvenko’s own Ukrainian origin earns her first-hand experience of the Czechs’ deep-seated hatred of Russian-speaking people. The film therefore casts light on another unfortunate legacy of the August 1968 events in contemporary Czech, but also Ukrainian and Russian society."I don’t want to speak about general justice or truth. I would like to show that no truth can be definite. This is a story about how one becomes an “occupier” without intending to." A. Kryvenko

My Unknown Soldier

Anna Kryvenko
Czech Republic, Latvia, Slovakia / 2018 / 79 min.
section: First Lights
International Premiere
Connatural
This documentary, shot on black and white film, is an excruciating meditation on living close to death, which is nonetheless an inseparable part of life. Three generations of women live in one home, away from other people: an ageing mother, her two daughters, and her granddaughter. In long, slow shots, we see ordinary, regular actions that make up their day: braiding hair in the morning, cleaning the mother’s feet, reading the evening prayers. Lyrically stylized scenes depict their lives as an endless succession of moments of solitude, but which in their sequence and repetition gain strength, approaching analogy in the surrounding beautiful but inert nature.“Connatural stems from a need to express a series of emotions and thoughts related to the human condition. It delves into universal issues that are not usually represented as the experience of old age, everyday life and closeness to death.” J. Bellido

Connatural

Javier Bellido Valdivia
Peru / 2018 / 83 min.
section: First Lights
World Premiere
Notorious Deeds
October 1989. A high school student in Bucharest is apprehended for pasting up anti-regime posters and is interred in a secret police building for a number of days. As a result, his family, loved ones, friends, and schoolmates are affected by restrictions. Twenty years later at their class reunion, an excursion begins into memories of that moment of shock etched forever into memory, but for each somewhat differently. Director Gabriel Tempea is more interested in exploring the subjective interpretation from the point of view of “talking heads” than the actual facts. A postmodern form of oral history based on the testimonies of those who have most of their lives ahead of them.“Based on personal, subjective and painstakingly detailed recollections of an exceptional occurrence, I attempted to provide a glimpse at the bigger picture of  atroubled historical period.” Gabriel Tempea

Notorious Deeds

Gabriel Tempea
Romania, Austria / 2015 / 68 min.
section: First Lights
World Premiere
The Making of Justice
A consistently out-of-focus visual record tracking seven men as they discuss the screenplay for a film about the life path of Tom, a young murderer who, after twelve years in prison, returns to the village where he lived, and tries to prove – to himself and others – that he has changed. The camera slides down the walls, snoops between chair legs, and captures useless details of the individual body parts of the participating figures. The schematic story of Tom’s guilt, punishment, and new beginning, which the film’s director guides her consultants through step by step, gradually gains in plasticity and becomes a surprisingly effective tool for thinking about the image of a criminal and the concept of justice. "Fiction is a powerful tool to re-imagine oneself and the world, a place where judgement can be suspended. This is a rare occasion to hear the voices of perpetrators as human beings, in an increasingly revengeful society."  S. Vanhee

The Making of Justice

Sarah Vanhee
Belgium / 2017 / 60 min.
section: First Lights
World Premiere
Slits
Physicist Catarina, dedicated to her work and teaching at university, has come close to a breakthrough discovery in her research on quantum mechanics. She discovered a so far unknown level of sound spectrum, which is to become key in new perspectives of looking at the world. This simple film with a powerful concept is not merely a story of a Brazilian female scientist, but it also offers a commentary about our (in)ability to capture reality. The rather non-traditional topic of the film corresponds with its unusual form: it consists simply of very long, seemingly static images. “To keep the possible and impossible in life in tension. To build an escape line from this journey. To create a crack in the wall that surrounds us. That is the most important reason to make films for me.” C. Segundo
personal program

Slits

Carlos Segundo
Brazil, France / 2019 / 78 min.
section: First Lights
International Premiere
Noiseless, Desert Extras
Since the dawn of cinematography, the Moroccan city of Ouarzazate has been a lively center where extras for films with an Arabic theme are found in abundance. This poetic documentary, intentionally using acknowledged staging, shows how the electrifying energy of film flows through the local population. In this “game for real”, the filmmakers deconstruct film as an imitation of life, but one that becomes more than real for the interviewed film extras. This story presents the totality of moving images from a location where you would definitely never look for it."We are concerned about ideologies and fantasies that shape singular communities. In Noiseless we decided to build pictures with the extras of Ouarzazate to reflect on cinema's illusions." G. Lepore, Maciek and Michał Madracki

Noiseless, Desert Extras

Michał Mądracki, Maciej Madracki, Gilles Lepore
Poland, France, Morocco / 2017 / 64 min.
section: First Lights
European Premiere
Helena's Law
Documentary filmmaker Petra Nesvačilová’s study of the famous “Berdych Gang” focuses on police officer Helena Kahnová, but she also interviews other actors in the case, including the accused and the convicted. The resulting film is a mosaic that says less about the case or its background than it does about the people who exist on the edge of the law, and about their thoughts and motivations. Nesvačilová herself comes into contact with the criminal underworld and becomes an actor in her own film. She must decide whether it is safe to meet certain people, which leads her to consider questions related to the essence of crime and of good and evil in general.“I thought I was shooting a portrait of a brave police woman, but in the end I found myself in places that I had always been afraid of and that I only knew from the movies. The underworld. And now I see that this underworld is all around us – sometimes very, very close.”

Helena's Law

Petra Nesvačilová
Czech Republic / 2016 / 80 min.
section: First Lights
World Premiere
Savagery
Just forty years ago, the Brazilian state of Pará was covered by rainforest. Today, it is an area where the wilderness comes into harsh conflict with the savagery of the urban population. Using several segments, a team of two French documentarians compose an especially brutal poetical mythology of a place where poachers hunt snakes that are many meters long, crowds of people look on during police murder investigations, and a mother must apologize because her adolescent rapper son insulted the local police. Using a handheld camera, the filmmakers take spontaneous shots, sensitive to both the genius loci and the unaffected interviews with local inhabitants. "We went to Pará, Brazil, at the pursuit of some sort of vision of savagery. Crossing tales, ecological themes and fantastic apparitions, we try to undo this arbitrary separation between the fascination with nature and the fear of violence." J. Le Fourn

Savagery

Jonathan Le Fourn, Rèmi De Gaalon
France / 2017 / 94 min.
section: First Lights
International Premiere
I Remember Nothing
As Tunisia experiences revolutionary unrest, Diane tries to come to terms with manic-depressive symptoms so intense that she nearly loses her memory. Five years later, she comes across the diverse records – photographs, diaries and home videos – that she kept during thi time of crisis. She then transforms these documentary materials into a tool by which she captures the seemingly lost fragments of memory. Nevertheless, her goal is not to weave these fragments into a holistic narrative, but to preserve their fluidity in order to present the chaotic events that made the chasm between the public and the private unimaginable."This is the story of a broken memory locked on a harddrive. I wanted to look at the pieces of the puzzle - footage, sounds. To face the black holes. Remember. Show the violence of this inner storm." D. S. Bouzgarrou

I Remember Nothing

Diane Sara Bouzgarrou
France / 2017 / 59 min.
section: First Lights
International Premiere
IN MY SKIN
The theme of domestic violence is discussed in the public more often than before, but it still remains a burning issue victims are afraid to talk about. The director deals with the issue from an unusual perspective in a stylized documentary: she does not only describe the problem, but lets us experience it together with three female characters, using subjectifying methods based on testimonies of actual victims of domestic violence. Their inner voices describe how diffi cult it is to prevent or break up the relationship with the abuser. Then their actions suggest possible solutions.“For women, home is the most dangerous place. This movie resulted from the desire to let women tell their stories shame free. The viewer experiences their journey.” A.-S. Richard
personal program

IN MY SKIN

Anna-Sophia Richard
Germany / 2019 / 72 min.
section: First Lights
International Premiere
Double Me
The film is based on photographs, manuscripts, audio recordings and 8mm films shot by the ethnographer Gregorio Hernández de Alba in the 1930s and 1940s. The director has used the materials to create a partial reconstruction of Hernández’s expeditions, and his unique image collages illustrate the way of life of the natives and the tragic misunderstandings between them and the Spanish colonizers. The film is interlaced with fictional scenes that bring the conqueror Pero López to life. The film on the border between reality and dream reveals the inability of the Colombians of two different origins to understand one another. „Exota (noun): one who manages to return to himself after having undergone the experience of diversity.“ F. Rugeles

Double Me

Felipe Rugeles
Colombia, Spain / 2018 / 80 min.
section: First Lights
European Premiere
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