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23rd Ji.hlava International Documentary Film Festival

ji-hlava dok cdf
TIMEBOX
TIMEBOX
TIMEBOX
TIMEBOX

TIMEBOX

director: Nora Agapi
original title: TIMEBOX
country: Romania
year: 2018
running time: 69 min.

synopsis

Professor Ioan-Matei Agapi, an 80-year-old photographer and cameraman from Iași, Romania, owns a unique collection of 16mm films and photographs documenting almost fifty years of the city’s history. His daughter, also a filmmaker, has decided to make a film about her father's archives. In the unconventional surroundings of his old apartment, he reminisces about the past until one day Ioan is informed that he must leave or be evicted from home where he has spent the past 40 years. Ioan’s years of work suddenly transform into a huge burden, and the film unexpectedly changes into drama in which conflicts with city officials reveal old and hidden conflicts within the family. 

"The deepest thing I learned whilst doing this film is that we are stronger than we think we are." N. Agapi 

biography

Nora Agapi (1974) graduated from the University of Drama and Cinematography in Bucharest. Her credits as a cinematographer include several feature-length documentaries (Decoding Dacia, Leaving Transylvania, Off The Beaten Track, and more) and a number of short documentaries and fictional films. She is also a successful photographer who works with National Geographic magazine, The Sunday Times, Cosmopolitan, and other major media. 

more about film

director: Nora Agapi
producer: Monica Lazurean-Gorgan
script: Nora Agapi, Maxim Carlan
photography: Nora Agapi
editing: Rita Bakacs

other films in the section

One Day in Selimpasha
One man and an apartment, about which we know nothing. This is the premise of a conceptual documentary based on the concept of providing a deliberately limited amount of information to the viewer. We look into the intimate space behind the closed front door, where the most ordinary activities are carried out: cooking lunch, preparing tea, eating lunch, starting a fire in the fireplace. In this residential monodrama, a second living actor is desperately lacking, one that would bring to life the plot embodied in speech. It becomes a study of a person’s existence in their most personal space - a dwelling that can be just as much a preserve of peace and security as a golden cage of solitude."What are the feelings of a person who does nothing while everyone expects him to do something? What should he do? In general, is there any difference between the emotions of two humans? What does portrait mean? A human face or something else?" H. Baydarov
personal program

One Day in Selimpasha

Hilal Baydarov
Azerbaijan / 2018 / 64 min.
section: Between the Seas
World Premiere
Butterflies
Young Alexei is openly homosexual. Although his peers have no problem with his sexual orientation, his mother is unable to accept it. This documentary portrait follows Alexei during summer break, as he spends time with his new lover Grisha, whom he met at a Tarkovsky festival. The film takes an unusual observational approach in that the camera is often right up against people’s bodies and faces during impassioned discussions, arguments, or testimony. As a result, the spontaneous and eccentric manner in which Alexei breaks down gender stereotypes are brought to the fore. “Making a movie always goes hand in hand with fear and shame. This is because the film just now learned to dive into the man. Untill now it only described. During the work on the film Butterflies I always thought about it.” Dmitry Kubasov

Butterflies

Dmitry Kubasov
Russia / 2016 / 79 min.
section: Between the Seas
World Premiere
The End and the Means
Massage, doing the laundry, grazing water buffalo, snake charmers, street jugglers and dentists, music and dance lessons. Through his humble contemplation on various expressions of people’s devotion to their work, Paweł Wojtasik shows the web of human activities that each have their fixed place within India’s caste society. Work is not a path out of poverty or towards wealth, but a form of Hindu meditation on the roots of human activity and established working techniques and rituals. Man is a machine controlled by a higher power. This observational documentary, filmed primarily in India’s oldest city, Varanasi, focuses on the sacred Ganges River as a source of all human endeavours. „I wanted to investigate the Indian idea that work can lead to liberation rather than alienation. As a film worker myself, I learned from the people I filmed – to be present with the whole body and mind.“ P. Wojtasik
personal program

The End and the Means

Pawel Wojtasik
France, India, United States / 2018 / 99 min.
section: Between the Seas
World Premiere
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: Between the Seas
East European Premiere
The Things
Nearly 10 years after the conflict in Georgia, Georgian inhabitants of the Russian-occupied territory are still living in temporary camps, waiting to return home. Their dwellings are cookie-cutter houses. They brought only the few items that they managed to grab from their homes when fleeing from the occupation army. Equally austere, almost as empty as their provisional housing, they live their lives at the mercy of waiting for what is to come. In this meditative documentary, real relics of their past lives, everyday things brought from their original homes, are the most tangible manifestations of the irreversibility of time as measured by losses. “We attempted to reflect about war experience from particular perspective, to meet persons rather than statistics, to observe rather than inquire, to contemplate about something we all share - the attachments.” Nino Gogua

The Things

Nino Gogua
Georgia / 2016 / 62 min.
section: Between the Seas
World Premiere
António and Catarina
In one of the gloomy rooms in his flat, seventy-year-old Augusto casts shy glances at the camera behind which stands twenty-five year old Cristina, the film’s director. For three years she repeatedly visited him to record their interviews, during which they used the assumed names of António and Catarina. This game with identity, and mainly with the nature of their mutual relationship, is reflected in small talk, where the topics turn to diverse themes, including masturbation and gender stereotypes. Augusto/António is usually the one talking as well as the one in front of the camera, which records his image in dark details. Cristina/Catarina stands behind the camera and asks questions. “Drawn by the vigour of an old enchanting man, I made this film without knowing where it would take me.” C. Hanes

António and Catarina

Cristina Hanes
Portugal / 2017 / 40 min.
section: Between the Seas
East European Premiere
My Granny from Mars
Babushka Zina is originally Ukrainian, but because of the current political situation she has remained in Russian-occupied Crimea. Separated from her family, she lives in a forgotten seaside town while trying to decide whether to stay or to leave. The sounds of Russian contemporary music and folk songs add to the atmosphere of her exile town, which is seen through a sensitive lens filled with sentimentality. But the consequences of the unsatisfactory political situation are ever-present in this place, which is like a different planet. The way in which the director records Zina’s relationship to her friends and family betrays a deep respect for this old woman, her life wisdom, and her experiences."After the annexation of Crimea my old Ukranian granny Zina had to face the fact of living on a 'new planet'. For many reasons, the time has come for her to make a crucial decision." A. Mihalkovich
personal program

My Granny from Mars

Alexander Mihalkovich
Estonia, Ukraine, Belarus / 2018 / 83 min.
section: Between the Seas
World Premiere
Our Daily Water
Drinking water deliveries by boat to remote Croatian islands is a great opportunity to observe often humorous daily life. Especially when the ship’s captain has a tendency to make coarse comments, regaling his young nephew, the newest member of the crew, with his choleric outbursts. Our Daily Water is an observational film, but it gives inner energy and humor to its protagonists. The film’s creators successfully convey the atmosphere of lazy days along the hot Croatian coast and the explosive temperament of the locals."Through this Mediterranean comedy about a Captain and his crew I wanted to tell a story of invisible people who work honestly in order to prevent our country from becoming an "accidental state"." V. Vorkapić
personal program

Our Daily Water

Vlatka Vorkapic
Croatia / 2018 / 57 min.
section: Between the Seas
International Premiere
Among Houses and the Cosmos
In this sensual film essay, the director has assembled her experiences with rituals in various corners of the world, from Europe across Africa to Latin America. The close interaction of the camera with bodies moving in trances encourages active involvement in the frenzied moments in which people lose themselves in Dionysian intoxication. These moments serve the filmmaker to obliterate the distance between the individual and the collective, personal and foreign, internal and external. The film, however, attaches a political meaning to the rituals, or rather shows how uprooted cultures cope with their minority status through rituals, or even turn it to their favor. “I felt the urgency to work with video footage from years of different travels. During editing, I found myself thinking about the human necessity to impose meaningful patterns on life and being.” Koštana Banović

Among Houses and the Cosmos

Kostana Banović
Netherlands, Bosnia and Herzegovina, Portugal, Senegal, Brazil, Angola, Turkey, Gambia, Cuba, Serbia, Aruba, Netherlands Antilles / 2016 / 70 min.
section: Between the Seas
World Premiere
Victoria
The hypnotic wasteland of Southern California is infused with the free-spirited nature of Easy Rider, the alienation and uprootedness of Michelangelo Antonioni, and the deep transcendence of Werner Herzog. It speaks to us through fragments of dialogues from iconic films, and yet it remains elusive and dissolves into abstract shapes, rhythms, and compositions. The landscape as a captivating and intangible, all-encompassing and insubstantial yet full emptiness becomes the means for the transgressive experience of two temporalities – the “real” time of people and the time of natural processes.„How much further do we have to go? I don't know. Not much further. That's what you said this morning. I sometimes say it all day. Really? You say it all day? We don't have much longer. We'll be there soon.“ L. Marxt
personal program

Victoria

Lukas Marxt
Austria / 2018 / 63 min.
section: Between the Seas
International Premiere
Extra-Terrestrial Ecologies (Retroflectors: the astronaut, the robot, the alien)
What new things can we learn about ecology from science fiction? According to this video essay by artist Ralo Mayer, quite a lot. A flow of thoughts and analogies inspired not only by such sci-fi films as The Martian, E. T. the Extra-Terrestrial and Silent Running, but also by Biosphere 2, a project simulating an enclosed ecosystem located far away in outer space, have led the artist to reevaluate the way in which ecology is currently considered.  For his new view of things, which relies more on a cosmic rather than an earthly perspective, the key concepts consist of humans as space travellers, robotic technologies, and extraterrestrials as apparitions whom we suspect exist in distant star systems."Ecology in outer space, far from our home planet, is literally unheimlich–uncanny, or better: unsettling. After years of research about Biosphere 2, I met E. T. & we talked Haraway in a Redwood forest." R. Mayer
personal program

Extra-Terrestrial Ecologies (Retroflectors: the astronaut, the robot, the alien)

Ralo Mayer
Austria / 2018 / 43 min.
section: Between the Seas
International Premiere
The Sun Sets in the East
The film depicts the year 1984/85 through the diary entries by the director’s grandfather, a Soviet peasant from Lithuania, which reflect contemporary values associated with faith in God, as well as details about daily routines and political change. Despite its historicizing base, the film is still relevant today. The formal side is made up of live images taken with static cameras that contemplate the depopulated state of the Lithuanian rural areas. The poetic documentary essay about the irreparable impact of man examines the transformation of society from rural to urban and forces the viewer to question the hectic lifestyles we lead today."The Sun Sets in the East is a sincere film that can be watched and felt by anyone, and we hope that everyone will be able to find a reflection of themselves or their family's past in it." A. Dovydaityte, A. Belinski
personal program

The Sun Sets in the East

Agne Dovydaityte, Alexander Belinski
Lithuania / 2018 / 83 min.
section: Between the Seas
World Premiere
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