Tyto webové stránky používají soubory cookies, které nám pomáhají zlepšovat naše služby, personalizovat reklamy a analyzovat návštěvnost. Používáním našich stránek s tímto souhlasíte.
Více informací

24th Ji.hlava International Documentary Film Festival

ji-hlavadok-revuecdfEmerging producersInspiration Forum
Vacancy
Vacancy
Vacancy
Vacancy
Vacancy

Vacancy

director: Alexandra Kandy Longuet
original title: Vacancy
country: Belgium
year: 2018
running time: 80 min.

synopsis

The camera observes an American motel along the main highway – just the way many of us imagine the United States. We follow four people inside the room at night, where they have been living in a kind of private purgatory for several years. Their sins are drugs, crime, and bad decisions. The slow flow of scenes and the occasionally blurred image create an atmosphere of being out of time and out of place – which probably just where these four people, incapable of breaking free from the vicious circle of apathy, feel themselves to be. The four documentary portraits combine to form a picture of the depressing life of people nurturing a tiny flame of hope. 

„,I have been to hell and / back. / And let me / tell you / It was / wonderful‘ (from Louise Bourgeois work)“ A. Kandy Longuet

biography

Alexandra Kandy Longuet (1984) studied theater and art in Paris while at the same time organizing art exhibitions. After traveling in Russia and Argentina, she began to study film in Belgium. Her first documentary, As She Left (2012), won several festival prizes. Her next film, Shipwreck America (2016) earned her the L’Étoile de la Scam documentary award.

more about film

director: Alexandra Kandy Longuet
producer: Marie Besson, Samuel Tilman
script: Alexandra Kandy Longuet
photography: Caroline Guimbal
editing: Agathe Hervieu
music: Thomas Vaquié
sound: Alexandra Kandy Longuet, Jean-François Levillain

other films in the section

Dead Slow Ahead
A freighter sails through a barren seascape. Apparently drifting aimlessly. Apparently? A highly enigmatic allegory of the isolation of man and machine in a post-industrial capitalist society, which is as close to techno-pessimistic sci-fi as it is to romantic painting. This story, consisting almost exclusively of the landscape, the movements of workers and machinery, and the ship itself, uses a highly aesthetic style to put across the impression of absolute desolation and disconcertion. The sedative rhythm pulls the viewer into a completely new, unknown world. Bit by bit we come to a realisation and start to ask: is this the last ship of humanity, burdened with the difficult task of keeping in motion that which has long stopped making sense?DETAIL:“Is anybody listening? An entire river is entering through the keel. There’s a lot. The water is reaching the storage tanks. Roger! Roger! Attention! The wheat is getting wet. The wheat. Sir, this is a disaster!”

Dead Slow Ahead

Mauro Herce
Spain, France / 2015 / 74 min.
section: Opus Bonum
Central European Premiere
NU
“A terrible winter came. Snow was falling in endless flurry. The wind cooled down the air and the earth. The sun stopped shining. Three winters came without a summer that would follow them.” These words open the documentary dystopia conceived as personal correspondence between a woman/the nature and the last surviving man. On the background of images of natural scenery and desolate achievements of the civilization, a poetic confession of feelings is followed by descriptions of banal experiences and symbolic situations, all presented with a declamatory diction. In the last moments of humanity, the severed bond between the loving mother and her lost and rediscovered son is restored again.„You loved me as a male loves a woman, with his worst defects. You wanted to possess me, to dominate me, to control me, you wanted to strip me. You choked me, you devoured me. You loved me for you only, you took all I had. And you did not know you were going to die.“ F. Cousseau

NU

Frédéric Cousseau, Blandine Huk
France / 2018 / 54 min.
section: Opus Bonum
World Premiere
Day 32
Face to face with the possible end of the world, the filmmaker collects cinematic records of human existence as a message to someone or something that will come after us. This documentary essay erects a monument to the inventiveness and destructiveness of man, and its collection of images from the history of culture, war and sports forms a kind of ark, ready to survive the deluge. The natural elements assault the screen with all their might. The almost poetic voiceover offers a testament of life: at once generic and deeply personal. The director’s awareness of the inevitable end compels him to engage on an enigmatic journey in search of the places, people and phenomena of our civilization. “Two things always moved me: the end of the world and the end of images. I didn’t know they could come together, and was far from imagining they would be related. That’s how Day 32 was born.” A. V. Almeida

Day 32

Andre Valentim Almeida
Portugal / 2017 / 85 min.
section: Opus Bonum
International Premiere
Rock on Bones
An encounter between a French director and the Russian punk band The Oz launched a more than two-year journey between Paris and St. Petersburg. Captivated by the band’s charismatic singer Igor Salnikov, Caroline Troubetzkoy decides to help The Oz break through in the West. In return, she gets an exclusive opportunity to learn about the history of Russian rock’n’roll and its politically charged contexts, and gains access to rare footage for a highly personal film that exceeds the definition of documentary and tends towards performance.DETAIL:“Western vinyls arrived in the country as contraband, but nobody could afford the price. So some clever guys had the bright idea of inventing an illegal machine that could copy these vinyls on pieces of medical X-rays.”

Rock on Bones

Caroline Troubetzkoy
France / 2014 / 154 min.
section: Opus Bonum
World Premiere
Aged
Self-appointed family chronicler Philip Hoffman documents his father’s aging process. Images of this once-vital man as captured in the director’s amateur images are confronted by scenes of a sick old man slowly awaiting death at the family cottage by the lake. This experimental film combines intimate home videos (ranging from the director’s childhood all the way to the present as he cares for his incapacitated father) with unique impressions from the surrounding countryside that describe the transience of human life. Sounds of nature, such as water splashing on the lake’s surface or birdcalls, underscore the grainy wordless images.DETAIL:“Hi Daddy, good morning!” (daughter on the phone, enthusiastically) – I just woke up. (mumbling) – That’s good. Did you have a good sleep? – ugh, yes...  (indistinct mumbling) Yes... (hoarsely, losing his voice).

Aged

Philip Hoffman
Canada / 2014 / 45 min.
section: Opus Bonum
World Premiere
Beyond the One
A cinematic treatise on diverse forms of affection, love and partnership, and the difficult search for an individual way of expressing these feelings in the face of tradition and social conventions. People from around the world talk about love intimacy, but also their dark side and the violence that can erupt when spontaneous emotions are smothered by compromise. The contrasting use of different film and video formats, combined with the asynchronous combination of sound and image, underscores the film’s specific openness resulting from the subjects’ courageous testimony. Does love die when it submits to conformity and becomes ideology?“I filmed only when I felt my images became a caring record of a moment of sharing and when the act of filmmaking offered us the opportunity to live. That is how obstinately solitary and radically plural this act can be.” A. Marziano

Beyond the One

Anna Marziano
France, Italy, Germany / 2017 / 53 min.
section: Opus Bonum
European Premiere
Barbaric Land
Every era has its fascism. A film necessary for us at this time, over fascism and colonialism … With their 'Analythica Cameral' authors returned to rummage in privates and anonymous archives of Ethiopia over the film frames of the Italian colonial period ('35-36). The Colonial eroticism. The naked body of women and the 'body' of the film. Images of the Duce in Africa. Body frames of Mussolini and the 'mass' 1945, after the Liberation.

Barbaric Land

Yervant Gianikian, Angela Ricci Lucchi
France / 2013 / 65 min.
section: Opus Bonum
East European Premiere
Albâtre
Liquid landscapes, each one absorbed into the next, transform the screen into a painter’s canvas. The digital decomposition of images in live interaction with Carlos Grätzer’s music draw attention to the permeability between traditional and abstract painting as well as to the harmony between the fine arts, film, and music. Shots evoking Monet’s Impression, Sunrise, or Renoir’s secluded forest corners, break apart into a raster pattern and are transformed into a shapeless mass of colors that then grow into a new composition. While the impressionists depicted a static moment, Perconte captures a moment that is in constant motion."Albâtre reflects the desire I had to express the energy of this very special part of France where everywhere the wind carries the sea, where nothing is stable, and where I love so much to film: the coast of Upper Normandy between Le Havre and Dieppe." J. Perconte

Albâtre

Jacques Perconte
France / 2018 / 41 min.
section: Opus Bonum
World Premiere
A Volatile Tale
The unexpected birth of young birds frames this daily observation of a bird colony from the window of a flat in Rome. A poetic juxtaposition of human and bird life, of the search for god and a yearning for perfection, plays out on a minimalist stage of a few slanting rooftops. The footage of urban gulls, taken with a shaky handheld camera and intercut with shots of nuns from the neighbouring monastery, are mixed with poems, excerpts from novels and classical music. Only now and then – in a reflection in a window or from a seemingly banal conversation – do we learn anything about the people behind the camera.„Is life linear? Why should narration be. Our attentive eyes excite our thoughts. Let's follow them. A Volatile Tale proceeds through associations describing not the existing but the experience." C. Vestroni

A Volatile Tale

Carla Vestroni
Italy / 2017 / 44 min.
section: Opus Bonum
World Premiere
29 26
 The film 29 26 is an audiovisual recording of the thoughts and feelings of two sixteen-year-old and two nineteen-year-old girls, who in monologues reveal their concerns and ideas about the life they’ll lead in ten years. The director underscores their speech with stylized and realistic images of themselves, acquired under varying circumstances and on different materials, thus creating an original work of art connecting elements of multiple artistic areas that are close to the author. Long shots of the protagonists’ faces, captured in great detail, are highlighted with expressive illumination and interleaved with poetic, experimentally conceived passages.„‘The world grows with fear next to us‘“ - 29 26, tries to be an intimate and honest tribute/portrait about growing up. Together we create a new space, between performance and film hoping to remember who we were one day.“ P. Velho

29 26

Pedro Velho
Portugal / 2018 / 40 min.
section: Opus Bonum
World Premiere
The Road Back
The Road Back is a documentary journey to a time and place that have long been considered lost. The main character tries to find a lost village near a former international railway line where his recently deceased mother spent her youth. The past merges with the present as the filmmaker mixes archival films and close-ups of nature with old photographs. In fact, this blending of two media with different relationships to time forms the basis for discovering not only the relicts of the past that lie hidden beneath layers of contemporary phenomena, but also the unstoppable flow of seemingly unchanging time.“The Road Back incorporates the characteristics of home videos in narrative schemes. In the hope to create a personified and intimate film, based on the directness of home video.”

The Road Back

Wouters Maurits
Belgium / 2016 / 31 min.
section: Opus Bonum
World Premiere
Things
In this crystalline ambient minimalist film, scenes of an unmade bed slowly alternate with windshield wipers in the rain and a glass of water with sunlight streaming through it. The camera gently touches objects and phenomena of everyday reality. The images are not accompanied by commentary – only in places can we hear the recorded “voice” of things and their surroundings. The viewer’s attention is unavoidably drawn to the texture of image and sound. Shapes, colours, light, background noise, and tones of the environment are fundamental elements that build the atmosphere of the moments from which the film is woven.

Things

Thomas A. Østbye
Norway / 2015 / 48 min.
section: Opus Bonum
World Premiere
Ministerstvo kultury
Fond kinematografie
Evropská unie
Město Jihlava
Kraj Vysočina
Česká televize
Český rozhlas
Aktuálně.cz
Respekt