About Me

Fascinations: Exprmntl.cz - Out of competitionThe little-known Super 8mm films of Stanislav Hora (1959) from the 1980s are a little studied area of artistic film in our country. With his background in sculpture, Hora approaches film more as an artistic material – he uses it to animate the creation of sculptures, he draws on it, scratches and attacks its surface or uses it as a medium for art happenings. For Hora, film is a tool for expanding his artistic practice into other forms, a means for capturing visual processes or a kind of sculptural object. The Ji.hlava screenings are the premiere of newly digitized versions.Curator and author of the texts: Martin Blažíček (CAS FAMU)Digital reconstruction of the films: Lukáš Janičík, Emiliya VereshchaginaAudio mastering: Sara PinheiroThe films of Stanislav Hora were reconstructed at FAMU’s Centre for Audiovisual Studies thanks to the Academy of Performing Art’s institutional support for long-term conceptual development.Screening:BabraeCzechoslovakia, 1980, 6 min.Černý hadice / Black HoseCzechoslovakia, 1982, 3 min.Dobře posazená figura / Well-Positioned ModelCzechoslovakia, 1987, 3 min.Oko / EyeCzechoslovakia, 1987, 1 min.Pavouk / SpiderCzechoslovakia, 1987, 4 min.Kameny / StonesCzechoslovakia, 1987, 4 min.Fragment II – West BerlinCzechoslovakia, 1989, 6 min.FILCzech Republic, 2016, 5 min.

Behind the curtain of the film strip the concreteness of images appears and disappears again with varying levels of visuals shifts and deformations. The sounds of the film’s movement mix with voices that give the scenes context but nevertheless prevent a reconstruction of the fable. – The story dissolves, and during this layering we move further away from it ever being one.

The author uses film as an art-therapy tool to cope with traumatizing experience of her own. Told from a child’s point of view, the story builds on the symbolism of both common and uncommon objects, a clay body, a writhing snake or a metal means of payment, projected into the narrative structure of repeating motifs.

imperfect media image can make you give in to emotional illusions. The combination of animation and stable shots of the forest ground is accompanied by the author’s comment on the absurdity of the situation presented.

In her short, emotional film about life after the loss of a loved one, the author enthrallingly deals with a difficult topic, using techniques of both feature and animated film. Real experiences of the narrators, accompanied by an animated reconstruction of the painful situation, create a mournful insight into the thoughts of three young people untimely exposed to death.

A poetic short portrait of the Ústí region of the Czech Republic. Using experimental means of expression, the director creates a hypnotizing study that combines natural and urban landscape motifs into a multi-layered dynamic collage. The film was shot on 16 mm stock and was created without the use of visual effects.Fascinations: Exprmntl.cz: Out of competition

In a world where wildlife loses its place, there is a need to replace it. The allusion to a trailer advertising the soft green moss ball breaks down the distance between the sterile human habitat and the sea plant popularized as an organic element of any home.

Excerpts from a television interview with Eugène Ionesco in an adaptation of his absurd story The Colonel’s Photograph, which is dominated by the motif of a swimming pool that conceals drowned bodies. The visual pun is a compilation of techniques: animation, video, 3D graphics, and text, which give the seemingly random scenes a sort of structure.

Blinking icons, pop-up windows, a blaring alarm clock, and the blipping of unread messages are normal parts of our everyday lives. The creator turns her back on the endless stream of information and attempts to escape from the world of modern communication technologies for at least five minutes to devote some attention to herself.

A personal essay inspired by Kurt Vonnegut’s Player Piano (1952). Using machins learning on the level of deep reading, the film processes visual and audio records, distorting them, rearranging them, and subsequently submitting them to an algorithm created in part by artificial intelligence that reconstructs the sequences and arranges them in chronological order.

This sound-generated animation gives the audible world an impressive visual form of moving geometric shapes or a starry sky. The Max For Live and Touch Designer visual programming languages turn an original soundtrack into space galaxies where the technical and the human, the earthly and the spiritual, and machines and poetry meet.

Domlátil’s short animated film shows the daily rhythms of life at a speed of twelve frames per second. He works with real objects that we use in our regular lives or that we pass by without noticing them. Working with the textures, patterns and symbols he finds on them, he creates a visual continuity.