25th Ji.hlava International Documentary Film Festival
In the steps of Trisha Brown
director: Marie-Hélène Rebois
original title: Dans les pas de Trisha Brown
running time: 79 min.
synopsisThis documentary captures the moments when the colleagues of Trisha Brown (1936), the choreographer who changed the face of post-modern dance, pass on their knowledge to a new generation of dancers. The film reveals the magical world of innovative and captivating movement, which requires a large dose of imagination, concentration, and deep feeling in every part of the body.
biographyFrench filmmaker Marie-Hélène Rebois focuses on documentary and artistic films. She addresses important questions of inner feeling, faith, and artistic creation, including dance, in which she explores issues associated with movement and bodily expression.
more about film
|producer:||Olivier Charvet, Sophie Germain|
other films in the section
The clitoris mainly serves for female pleasure and has long been ignored by modern medicine until recently. While a woman's body has always been considered an erotic symbol, a woman's sexual desire has always been considered less important than a man’s or even taboo. Biologist Stacey Dutton, queer activist Coriama, designer Ti Chang, and artist Sophia Wallace point out how cultural, political and religious norms ruled by patriarchal society have led women to suppress their own desire. Each of them tries to demystify the established perception of female sexuality and, thus, end phallic dominance. Because without the equality of pleasure, there can be no equal society. „The Dilemma of Desire is a film that connects the consciousness of clitoral facts -- THE TRUTH -- with a female empowerment that is way beyond sexual satisfaction.“ M. FinitzoQ&A with the director Maria Finitzo:
The Dilemma of Desire
United States / 2020 / 108 min.
Technological advances and cultural development have disrupted the balance between humankind and other animals. Instead of looking at similarities, we focus on differences. Co-existence has been replaced by dominance. We have forgotten that we live in a house that does not belong only to us. However, the ties between humans and other inhabitants of the animal kingdom have not been irreversibly broken. In his visual essay, which is both intimate and philosophical, Alessandro Cattaneo focuses specifically on those things that connect us. The statements of thinkers and idyllic shots of interspecies interactions indicate that if we change the way in which we think about animals, it will be beneficial for the entire ecosystem. “I loved animals, but from a distance. The film was an exploration of a new territory when we started to shoot the film. From that day on, I experienced being so close to so many animals. You feel really naked when you are two feet away from black horse and a man riding him without a saddle.” A. Cattaneo Q&A with Allessandro Cattaneo:
RES CREATA - Humans and other animals
Italy / 2019 / 80 min.
East European Premiere
In a collage of private scenes and fragments of medialized events as part of the “war on terror”, Guli Silberstein uses his typical method of digital image degradation with the help of compression algorithms to draw attention to the actual process of remediating images and thus in two way raises questions as to their representation, credibility, and the emotions that they can carry.
Stuff As Dreams
United Kingdom / 2016 / 6 min.
On November 8, 2018, one spark was enough to start a fire on the western slope of the Sierra Nevada Mountains, which was one of the most devastating fires in California history. The fiery hell left 85 victims and more than 60,000 hectares of scorched land. The town of Paradise was also reduced to ashes. In the emotional documentary by Oscar-winning director Ron Howard, the surviving residents return to the place of destruction to overcome the trauma of losing their homes and face their uncertain future. Together with them, we experience a year of despair, facing the untamed element, and the hope and determination to start anew and rebuild the lost paradise. „Well, I’d never been, you know, around anything like that, that sort of total devastation. And that in and of itself was shocking to the nervous system. And then to see and begin to interview people who, you know, had experienced the rug completely pulled out from under them, what was going to be left for them. And that became our story. And it’s also something that they wanted to talk about. They wanted to share that footage. They wanted people to understand that as we saw these individuals, make some pretty remarkable decisions and take these steps toward actually trying to rebuild their lives and this community, we would never forget that, you know, in their recent past was this harrowing experience.“ R. Howard
United States / 2020 / 95 min.
Central European Premiere
Like many citizens of the Soviet Union at the time, Lithuanian seaman Simas Kudirka believed that a better future awaited him in the West. On 23 November 1970, when the Sovetskaya Litva he was on passed by the USCGC Vigilant, he decided to take advantage of the opportunity and jumped no less than three metres from the Soviet fishing boat onto the US Coast Guard patrol boat. This bold attempt of his to obtain political asylum caused social upheaval and prompted some very important dialogue between the two world powers. The dramatic re-enactment of this curious incident also reveals how radically the US government’s attitude towards refugees has changed since the Cold War.Q&A with the director Giedrė Žickytė:
Lithuania, Latvia, France / 2020 / 85 min.
Jordan is the second driest country in the world, and villages in the vast Wadi Rum desert depend on the water network located just below their feet. While the local population is faced with water shortages and expect the kingdom’s leaders to provide support like they promised, only large farms and the seaside town of Aqaba (where the King of Jordan has grand plans) have permits for deep-sea drilling. Through a series of interviews and poetic shots of the arid landscape, this ecographic documentary captures the complex state of the country, which is about to run out of valuable water resources, and the conflict between the state government and the local community worried about their future. http://livingwaterfilm.com/
Czech Republic, Jordan, Switzerland / 2020 / 77 min.
"I come from a dark place, Tito's Yugoslavia," says Marina Abramović at the start of the film, which captures her heartwarming return. The journey to her native Belgrade where the Serbian performer now calls home after many years leads us to the various cities where her travelling exhibition The Cleaner is being presented. The artist recalls her tumultuous relationship with her homeland, her parents and her own body, and recapitulates how she crossed the border between states and between creator and audience. Her work springs to life not only in archive footage, but also in the performances of young performers who, much like her children, carry on their "mother's" legacy.Discussion with the director to watch HEREQ&A with the director:
Homecoming - Marina Abramovic and Her Children
Serbia / 2020 / 83 min.
Lying at the heart of the film is Virginia Woolf's rhetorical question whether we really perceive the images of war in the same manner. These considerations provoked the director of the film to carry out an unusual audiovisual experiment. He presented several volunteers with 40 videos published freely on the Internet, which depict various aspects of the Israeli-Palestinian conflict. Closed in the viewing booth, they can play any of the clips, stop them at will, replay them, and comment on them. Their act of viewing, however, is recorded. And the director's dialogue with one particular participant eventually becomes an essential part of the film. “It’s a film about a breakdown of communication, but that also becomes dialogue, although it’s a problematic dialogue.” R. Alexandrowicz Q&A with the director of The Viewing Booth Ra'ananem Alexandrowiczem:
The Viewing Booth
Israel / 2019 / 72 min.
What Louie Palu experienced during the four years he spent covering the war in Afghanistan as an independent reporter exceeds the possibilities of photography. A montage of images, diary entries, commentaries, and authentic video footage creates a bleak document with an atmosphere as inhospitable as the Afghan landscape. This film may serve as a catharsis even for its makers.
Louie Palu, Devin Gallagher
Canada / 2015 / 76 min.
East European Premiere
An experimental metric film that layers various images of the Czech automotive, chemical, and heavy industries from 2009 to the present and conceptually combines them with aesthetic alterations to the image. Economic crisis and recovery are expressed in varying sharpness, color, saturation, contrast or brightness.
Czech Republic / 2015 / 19 min.
In the more than six hundred pages of his best-selling Capital in the 21st Century, Thomas Piketty explores why the one-sided accumulation of capital leads to increasingly greater social inequalities and the transformation of a democracy into an oligarchy. Director Justin Pemberton has taken this book, rich in graphs, numbers and complex economic terms, and transformed it into an energetic audiovisual lecture, which, with the contribution of leading economic experts, explains the history of the complicated relationship between power and prosperity. This alluring kaleidoscopic collage humorously exposes the weaknesses of capitalism and points out what we may lose if we fail to reverse current developments. “While we were making the film, I thought of Capital as a wild animal that can be really destructive when it’s just left to roam and follow its instincts but actually can be tamed and used for good and under the right circumstances.” J. Pemberton
Capital in the 21st Century
France, New Zealand / 2019 / 103 min.
The film is the result of meetings between a dancer and a cinematographer who met every morning and late afternoon for five consecutive days and recorded their improvised interaction. The rhythm of this series of experimental tests shot on 16mm film reveals not only the dancer’s movements, but also the dynamic movement of the camera, editing, and a game played with the mirrored reflections of the dance studio.
Pamela Vail, Jeremy Moss
United States / 2016 / 30 min.