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24th Ji.hlava International Documentary Film Festival

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IN MY SKIN
IN MY SKIN
IN MY SKIN
IN MY SKIN

IN MY SKIN

director: Anna-Sophia Richard
original title: IN MEINER HAUT
country: Germany
year: 2019
running time: 72 min.

synopsis

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

biography

Anna-Sophia Richard (1991) comes from the Dominican Republic, and she has studied arts and culture in Guatemala. She has gained her first work experience as a film producer and director. She made her first feature film IN MY SKIN (2019) after further studies at the German Filmakademie Baden Württemberg.

more about film

director: Anna-Sophia Richard
cast: Kristin Becker, Karmela Shako, Elisabeth Ehrlich, Michael Gerlinger, Patrick Joseph, Moritz Vierboom
producer: Astrid Schäfer
photography: Julia Hönemann
editing: Gürcan Cansever
music: Max Clouth, Douglas Greed
sound: Simon Peter

other films in the section

My Name is Hungry Buffalo
Jan calls himself Buffalo. He loves cowboys, he’s blind, and may lose his hearing. Pavel Jurda’s documentary follows his journey to America to visit the chief of the Navajo tribe, who wants to perform a ritual to help his hearing. The film is full of unpretentious humor thanks to Jan’s charisma. In the USA, he’s like the Don Quixote of the Wild West - a naive adventurer in a world that is much more ordinary than his imagination. This observational, but not standoffish, film is also an example of how the medium of film can relate to blind people by constantly showing the difference between what Jan perceives and what we actually see.“The film is not about blindness, even if the main character is blind. It is about yearning for life. ‘We are all handicapped in some way,’ says a guy during a journey that starts with an accident and ends in triumph.”

My Name is Hungry Buffalo

Pavel Jurda
Czech Republic / 2016 / 83 min.
section: First Lights
World 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
Set Off
The city of Kobani lies in Syria on the border of the sphere of influence of the Islamic State, Turkey and the Kurds. Representatives of these three opposing parties battled it out between the years 2014 and 2016 during a war conflict that claimed the lives of many civilians, including thirty-three Turkish citizens who had come there beforehand for various reasons. Conceptualized as a film in their memory, the filmmakers use symbolism to follow their fateful journey as they set off for a city in ruins. The footage is complemented by double exposures of the survivors' faces, who tell of the untimely deaths of their friends and relatives. “Set Off was an exercise about how and what to tell, after an unmourned disaster; a journey parallel to theirs, daydreaming in the middle of a conflict zone, where landscape deconstructs power regimes.“ M. E. Büyükcoskun
personal program

Set Off

Mustafa Emin Büyükcoskun
Germany, Turkey / 2019 / 63 min.
section: First Lights
World Premiere
Through Foreign Eyes
Mykaela Plotkinova thought of making this poetic, mosaic documentary in a bookshop, when she came across the words of poet Manoel de Barros about “the accent of the place of our origin we carry in our eyes”. She never found the quote again, but in the course of the next few years, she carried out the project with the help of other contributors, mainly the editor C. A. Saquieres. She created a film essay combining reflections on the identity and ethnic roots of several natives of the Brazilian city of Recife, who live abroad, and the images of the places where they live.„I’ve never not felt like a foreigner, but neither did I really know where I came from. Through Foreign Eyes searches for a story that no-one has ever really told me. This film is a must for me. A film that is made to understand life.“ M. Plotkin

Through Foreign Eyes

Mykaela Plotkin
Brazil, Argentina / 2018 / 74 min.
section: First Lights
World Premiere
Sand and Blood
The film takes a look at the recent history of two Middle Eastern countries torn by war – Iraq and Syria – from the perspective of local residents who have made the decision to flee their homes and seek asylum in Austria. It’s made up of a montage of conversations with refugees and amateur videos and images from various social networks and online platforms depicting events in both countries. Sand and Blood links individual stories and histories which are intended to awaken a deeper interest in the topic. Instead of a political film, the director considers his work to be something like a painting or poem. „A film that forces the viewer to question the very nature of good and evil, victim and perpetrator.” M. Krepp

Sand and Blood

Matthias Krepp
Austria / 2017 / 90 min.
section: First Lights
East European Premiere
Like an Abortion, for the Very First Time
The Umbrella Movement was a wave of street protests that took place in Hong Kong from September to December 2014 as a reaction to oppressive practices of the Chinese government against the citizens of Hong Kong dissatisfied with planned changes in the electoral system. In her feature film debut, To Liu captured the citizens of the western part of Kowloon, Mong Kok, whose protests might not have been as visible as those of the leading activists, but were no less important. The documentary rhythmized by opening entries and darkening of the scene, much like the director’s first film, follows two characters, a master and an apprentice.„'We are the fucking losers. But at least we fought', Mongkok people." T. Liu

Like an Abortion, for the Very First Time

To Liu
Hong Kong SAR China / 2018 / 102 min.
section: First Lights
World Premiere
FREM
The film is a reaction to the current wave of post-humanist thinking caused by the development of technology and artifi cial intelligence as well as the climate crisis. The human species is beginning to realize its insignifi cance and transience, and human identity has found itself in a crisis. The fi lm FREM attempts to refl ect this feeling and creates a dehumanized and alienated view of landscape and nature beyond human perception of reality. Incomplete thoughts and fragments of dialogue, diverse music interrupted by rushes and glitches, and the seemingly confused, unanchored camera, create a disturbing, philosophical refl ection on the limits of anthropocentric thinking. "Making this film was an extreme experience, in every aspect, not only physical, since we shot in Antarctica. I had to think un-thinkable. Leave the prison of anthropomorphism behind. Stop being human." V. Čákanyová
personal program

FREM

Viera Čákanyová
Czech Republic, Slovakia / 2019 / 73 min.
section: First Lights
World Premiere
27 Times Time
Documentary filmmaker Annick Ghijzelings used her visit to Polynesia to shoot a personal meditation on the phenomenon of time. She slowed down the smooth flow of time in order to consider, in 27 short fragments, the various ways time can be represented. She does so by combining poetic narrative with images of the past and slow-motion shots of nature and local life. Gradually, she puts together a multilayered image of time that questions the boundaries between art, science, and philosophy, between advanced civilization and native cultures, and between the past, present, and future."The stories never subscribe to explanations or expert digressions. They are off-camera, barely pronounced, they are whispered in our ear like a secret between friends that beckons sharing."

27 Times Time

Annick Ghijzelings
Belgium / 2016 / 73 min.
section: First Lights
International 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
Everything´s Gonna Be Fine
Producer Čestmír Kopecký had originally wanted to make a film about the changing face of Brno, but in the end director Robin Kvapil and co-writer Pavel Šplíchal created something more closely resembling Šplíchal’s ironic blog Prigl. In their “lovingly anarchistic” film, Brno forms the epicentre of a sarcastic look at Czech society. The naive and vacuous communist-era documentary with which Kvapil’s film opens gives way to the reporter’s bitter monologues right in front of the camera. These are intercut with acted sequences featuring Brno’s political elites, artists, and outcasts.“People say that Brno is the only joke that is inhabitable. The entire film follows this logic.” R. Kvapil

Everything´s Gonna Be Fine

Robin Kvapil
Czech Republic / 2017 / 71 min.
section: First Lights
World 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: First Lights
World Premiere
Where the Land Ends
Québec is the largest Canadian province and the only one with the official language being only French. Modern struggles for Québec’s independence have resulted in two referendum polls which both acknowledged its being a part of Canada. The film explores Québec identity through the perspective of young people who haven’t had the chance to vote in the referendums. It comes up with questions about their relationship to their ancestors, whose traditions had been captured on camera by the documentary filmmaker Pierre Perrault, or whether their previously clear identification has begun losing ground now. In the course of a contemplative journey through the province’s cities and nature, seventeen young people provide their questions and ideas.“Where the Land Ends is a voice and a space. A voice that I realized I no longer heard, yet that I needed to hear. A space that still lived through some, but which we could no longer inhabit ourselves.” L. Darses     
personal program

Where the Land Ends

Loïc Darses
Canada / 2019 / 90 min.
section: First Lights
International Premiere
Ministerstvo kultury
Fond kinematografie
Evropská unie
Město Jihlava
Kraj Vysočina
Česká televize
Český rozhlas
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