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23rd Ji.hlava International Documentary Film Festival

ji-hlava dok cdf

Happy Mother´s Day

director: Joyce Chopra, Richard Leacock
original title: Happy Mother´s Day
country: United States
year: 1963
running time: 30 min.
Czech Premiere

synopsis

This controversial film has provoked a discussion about manipulating the audience's opinion. It pretends to lay out the objective events surrounding a birth of quintuplets, while in reality putting forward a meticulously thought-out piece, prompting the viewer to wake up to the absurdity of the campaign. The film strives for committed objectivity rather than comprehensiveness.

biography

Richard Leacock (1921-2011), who worked with Robert Flaherty in his youth, was known first as an experimenter and later primarily as a cameraman at Drew Associates, practicing the concept of “live camera”.

more about film

producer: Donn Alan Pennebaker, Richard Leacock
photography: Richard Leacock
editing: Richard Leacock, Joyce Chopra
sound: Joyce Chopra

other films in the section

For the Ones to Come
Until 1924, one of the ways residents of Île-aux-Coudres supported themselves was by hunting porpoises. In 1962, filmmakers decided to revive this traditional activity that brought a sense of order to lives there. What at first seemed like a crazy idea became a major direct cinema project that perfectly captures the essence of this shooting method. 
personal program

For the Ones to Come

Pierre Perrault, Michel Brault
Canada / 1962 / 105 min.
section: Direct Vérité
Strangers of the Earth
Filmed in the village of Livinière in the Lozère district, locals talk about their work and lives in a time when the area is threatened with depopulation and the extinction of traditional farming methods. The goal was to record the opinions of these people living in relative isolation, thus affecting the truth about the situation. 
personal program

Strangers of the Earth

Mario Ruspoli
France / 1961 / 40 min.
section: Direct Vérité
Czech Premiere
The Little Café
Reichenbach was an innovative filmmaker who filmed everything around him using primarily his intuition. Instead of filming portraits of people, he made a portrait of a little café, where people are considered props and a spontaneously filmed telephone conversation between the café owner and a customer becomes the plot.  
personal program

The Little Café

François Reichenbach
France / 1963 / 12 min.
section: Direct Vérité
Czech Premiere
CANDID EYE (1958-1960): The Back-breaking Leaf
A short film from the TV documentary series The Candid Eye, which was quite innovative content-wise and intended to show a new way of filming. The goal in this particular case was to visually and aurally capture the numbing drudgery of seasonal tobacco pickers. Despite this, at some moments the direction took on a certain aesthetic aspect. 
personal program

CANDID EYE (1958-1960): The Back-breaking Leaf

Terence Macartney-Filgate, Wolf Koenig, Roman Kroitor
Canada / 1959 / 29 min.
section: Direct Vérité
Czech Premiere
An Insight into Madness, The Prisoner Party
The film is made up of the eponymous medium-length film and the short film The Prisoner Party. The director’s goal was for the viewers to better comprehend the everyday life of patients and doctors at the psychiatric hospital in Saint-Alban, where the first experiments with psychotherapy took place. The commentary uses Artaud’s texts on madness.
personal program

An Insight into Madness, The Prisoner Party

Mario Ruspoli
France / 1961 / 53 min.
section: Direct Vérité
Czech Premiere
Three Cheers for the Whale
This documentary “anti-Moby Dick” is a cooperative work with Chris Marker - creator of the commentary, editing, and sound.  A lively poetic essay on the plight of whales responds to the condemnation of their fishing at a conference in Stockholm. The commentary combines a male voice as the traditional explicative and a female voice, which is intimate and evokes the whales’ thoughts. 
personal program

Three Cheers for the Whale

Chris Marker, Mario Ruspoli
France / 1972 / 17 min.
section: Direct Vérité
Czech Premiere
Lonely Boy
At first glance, the film appears to be a survey about the gifted singer, the idol of a generation. The result is a unique way of observing stars through their own fans. The sound is significant here, achieving an unprecedented sense of reality. The innovative approach complements the film with staged scenes. 
personal program

Lonely Boy

Wolf Koenig, Roman Kroitor
Canada / 1962 / 27 min.
section: Direct Vérité
Czech Premiere
On the Pole
This pillar of direct cinema captures the fame and death of race-car driver Eddie Sachs. It combines original with archival footage, black-and-white with colour film, and among other things makes use of sped-up images in order to achieve the same effect as in Primary. Again, the film tries to find the logic of the depicted events and to offer an objective take on them.
personal program

On the Pole

Robert Drew, Richard Leacock
United States / 1960 / 58 min.
section: Direct Vérité
Czech Premiere
The Human Pyramid
Rouch doesn’t pursue reality - he provokes it. The camera isn’t hidden but stands in the forefront. This sociological documentary about the clash of white and black cultures is based on improvisation. This simulation of the coexistence of dozens of boys and girls is an attempt to capture the essence of real existing facts and Rouch’s concept of cinéma vérité. 
personal program

The Human Pyramid

Jean Rouch
France / 1961 / 88 min.
section: Direct Vérité
Czech Premiere
Don´t Look Back
The work of D. A. Pennebaker is absolutely vital to any understanding of the development of cinéma vérité outside of France, and his documentary about Bob Dylan is the essence of this style. First shown in 1967, it was an unexpected hit with audiences and subsequently became the model for future music documentaries even though it is nothing more than a record of Dylan’s 1965 tour of England. 
personal program

Don´t Look Back

Donn Alan Pennebaker
United States / 1967 / 95 min.
section: Direct Vérité
Seeing Miami...
It’s no wonder the director claims to be inspired by the work of Jean Vigo. In this film, he artfully develops his own style – dialogic commentary, corpses, slowed-down scenes, and parallel montages. The result is an image of white and black society. The film was censored in Canada due to its scenes from Cuba and Fidel Castro giving a speech. 
personal program

Seeing Miami...

Gilles Groulx
Canada / 1962 / 31 min.
section: Direct Vérité
Czech Premiere
The Village Pleasure
Or, how to become a Frenchman in a few lessons. It’s the essence of cinéma vérité, combining an essayistic approach with an effort to capture raw reality in all its truth, but at the same time, we’re watching a documentary version of The Firemen’s Ball in the French countryside. 
personal program

The Village Pleasure

François Reichenbach
France / 1963 / 47 min.
section: Direct Vérité
Czech Premiere
Ministerstvo kultury
Fond kinematografie
Evropská unie
Město Jihlava
Kraj Vysočina
Česká televize
Český rozhlas
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Respekt
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