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23rd Ji.hlava International Documentary Film Festival

ji-hlava dok cdf
Soar
Soar

Soar

director: Patrick Bokanowski
original title: L'envol
country: France
year: 2018
running time: 8 min.

synopsis

A digital miniature in which the form into which the image is deconstructed emphasizes the things we leave in our wake – trajectories of movement, actions, decisions, gestures. This guide of the traces we leave behind dissolves into a depiction of the things that remain; the simple visual approach raises the imperative of understanding the consequences of the movements of mind, body, and things.

"Choreography of an imaginary journey 
Color / 7 minutes 40" P. Bokanowski

biography

Patrick Bokanowski (1943) tears down our assumptions regarding the essence of the cinematic medium. His visual experimentation with contrasts, compositions, rhythm, and perspective inexorably shatters documentary’s lens of supposed objectivity and attacks the reliability of the viewer’s senses. His experiments take on the form of a sensory amusement park that grinds down the bizarreness of everyday reality and offers the viewer an uplifting, intimate experience.

 

more about film

director: Patrick Bokanowski
producer: Patrick Bokanowski
music: Bokanowski Michèle

other films in the section

WHERE DO WE GO
Images recorded on a Lomography Supersampler, which photographs four immediately sequential moments on one frame of 35mm film, multiply the illusion of rhythmic movement and create a visual melody that hurtles forward, while the imprint of the moment remains fixed in place. The drum performance emphasizes the minimalist sharpness of the patterns. "Where do we go, in a time where borders are going to be closed again? The feeling of freedom has gone. I try to break down visual borders to rebuild a base for the spirit of freedom again." S. A. Fruhauf  
personal program

WHERE DO WE GO

Siegfried Alexander Fruhauf
Austria / 2018 / 4 min.
section: Fascinations
International Premiere
Lviv Intervision
A found footage reminiscence of the beginnings of Ukrainian TV broadcast in 1957 and the first 20 years of its operations, when the first factory for manufacturing televisions began operating in Lviv, presents not only programs broadcast at that time, but also the way television transformed the household and family structures. "Despite it’s archival form, our film is not about the soviet past but today’s virtuality - a dramatic story of the the gaze and the sedation of a newly emerged TV-spectator, which continues until now." A. Onufrienko, S. Menzelevskyi, E. Parvulesco  
personal program

Lviv Intervision

Anna Onufrienko, Stanislav Menzelevskyi, Elias Parvulesco
Ukraine / 2018 / 14 min.
section: Fascinations
International Premiere
The Will
A meditative evocation of the South Korean “Candlelight Revolution” in the winter of 2016/17. The hybrid mosaic, in which archival and contemporary footage is altered by visual manipulation and performative moments, shows artifacts, situations, and gestures reflecting the desire for political change.  "The sense of vulnerability facing the unimaginable change made it only possible to borrow the quotations from the past and the future." S. Kim, J. Cho  
personal program

The Will

Jenny Cho, Sungeun Kim
South Korea / 2018 / 20 min.
section: Fascinations
World Premiere
La Mesa
Genre conventions cleverly broken down with animations, breaking through the scenery of rural Mexico, where in the area surrounding the director’s family farm, symbols of stories of physical desire conceal a layer of idyllic childhood memories and come into conflict with the traditional concept of masculinity and identity expression.   "By centering queer desire within the story of my Mexican-American family, I validate my own lived experience as well as challenge popular representation of masculinity, power and vulnerability." A. G. Gomez  
personal program

La Mesa

Adrian Garcia Gomez
United States / 2018 / 10 min.
section: Fascinations
International Premiere
ROTARIO
This stereoscopic 3D film explores field of vision by slicing the visible image into sections of time and space. The centrifugal images of movement are combined in surreal compositions in which the seams disappear and reappear in moving illusions. "Stereoscopic films make sense if they make non in mono2D. ROTARIO provides the same film to each eye but with a one frame delay. The spinning carousel unfolds its depth in the spectator's vision only." B. Speidel

ROTARIO

Björn Speidel
Germany / 2017 / 8 min.
section: Fascinations
International Premiere
Untitled, 1925, Part Three
“When I close my eyes, everything remains the same”, says the filmmaker at the start of her work, which records places in the Andes as she retraces the journey her Romanian-Jewish grandfather undertook in 1925 in order to acquire Peruvian citizenship, which allowed him to save his family from Europe twelve years later. “An atmospheric and meditative film. A journey that revives and confronts memory and reality. The film was shot on a 16mm high contrast film stock which has sadly been discontinued.” M. Piller

Untitled, 1925, Part Three

Madi Piller
Canada / 2017 / 11 min.
section: Fascinations
East European Premiere
Mayhem
Minor irregularities are transformed into an elemental disorder of growing, jumping, decaying and reappearing bubbles, only to become focused into a circle of changing colors. Using digital tools, the author depicts the simple process by which water boils and cools again. Japanese experimental filmmaker, producer, and computer artist Yoshiki Nishimura has shown several of his films at previous editions of the Jihlava IDFF. In Fascinating Moments (2014) he followed the choreography of snowflakes, An Observation (2013) is a composition of upside images of the sea, and Orbiting (2015) explored the changing light of the moon as it shines through a visually manipulated digital image.“By using different media, we have great possibilities of expanding our views of reality into various directions.”

Mayhem

Yoshiki Nishimura
Japan / 2016 / 10 min.
section: Fascinations
World Premiere
CAMERA (Notes on Film 10)
A meditation on surveillance, dramatized by a person having panic and anxiety attacks in a white room with no doors or windows. The filmmaker reflects on the omnipresence of seemingly inconspicuous observation. The impossibility of a hidden camera’s objectivity is emphasized by reactive changes in its angle of view when the person attacks it. Austrian filmmaker and curator Norbert Pfaffenbichler (1967) is a pioneer of video art and a founding member of the VIDOK art group. His works often combine electronic music and abstract projections. Pfaffenbichler was the curator of the important group exhibition Abstraction Now at the Künstlerhaus in Vienna (2003), which worked with computergenerated sounds. Previously at Jihlava IDFF, he showed his film Intermezzo (Notes on Film 4) (2012).„Camera is a short étude on the topic of the invisible camera. it is part of my ‘notes on film-series ’ which deals with different topics from the history and theory of film.”

CAMERA (Notes on Film 10)

Norbert Pfaffenbichler
Austria / 2015 / 13 min.
section: Fascinations
Czech Premiere
Engram of Returning
Fragmentary images reflect the ability of the neural network to preserve an imprint of what we see (even if as a mere flash) and provide a strong visual experience from specific found motifs that dissolve into their constituent parts, while encouraging moments of intense introspection and leaving room for our imagination, all of it presented as a provocative dialogue with immediate memory. Daïchi Saïto hails from Japan but studied literature, Hindi, and Sanskrit in the USA. He first started working with film in Montreal, where he co-founded the Double Negative art group. He is an author of many short films and video installations. Jihlava IDFF screened his rees of Syntax, Leaves of Axis (2009).“My films d on’t talk about so cial or political issues, but instead it is important for me to think about the mode of filmmaking as having so cial and political implications.”

Engram of Returning

Daïchi Saïto
Canada / 2015 / 18 min.
section: Fascinations
Czech Premiere
The Image that Spits, the Eye that Accumulates
The color of skin and of film become the center of discourse: The filmmaker’s mixed-race background is reflected in imprints of the landscape and ruptures within it, but also in the color of the faded Kodachrome film, whose typical visual characteristics have dissolved in time. Hues are barely visible and only with difficulty capture the image of a body that does not fall into any clear categories.  "Where does film fail or resist us? Working on celluloid I make images which affirm mixed race culture and the cultural in between." R. Storr  
personal program

The Image that Spits, the Eye that Accumulates

Rhea Storr
United Kingdom / 2018 / 11 min.
section: Fascinations
World Premiere
Beyond the Mirror Rim
A collage of reflections on various artificial and natural surfaces forms fleeting, concrete and variable abstract visual compositions, with a voiceover meditation on forms of perception related to the acquisition and deepening of knowledge, from Antiquity to today’s technical and social influences on how we perceive the world. German director, photographer, cinematographer, and university lecturer Thomas Kutschker (1963) experiments with sound, mixing recordings from social networks from around the world with excerpts from old films to explore human fear and the yearning for knowledge. The Jihlava IDFF previously showed his films Shadow Worlds (2008), Me, Myself and I in the Age of Download (2010), and Financial Locations (Global Mash Up) (2015).“Words, sounds and pictures seem to be independent, disconnected as the appearance of light, shadow and reflexion themselves... But they are woven into each other and connected following their own logical construction.”

Beyond the Mirror Rim

Thomas Kutschker
Germany / 2016 / 14 min.
section: Fascinations
World Premiere
Non-Places: Beyond the Infinite
This essayist collage visually develops French anthropologist Marc Augé’s concept of nonplace (ephemeral places characterized by anonymity or blurred identity) and turns images of highways and rest stops upside down, thus emphasizing the difficult-to-grasp images of these worlds “Marc Augé’s essay (Non-Places: Introduction to an Anthropology of Supermodernity) meets with Stanley Kubrick’s 2001: A Space Odyssey in some Hungarian highway rest areas.”

Non-Places: Beyond the Infinite

Péter Lichter
Hungary / 2016 / 6 min.
section: Fascinations
European Premiere
Ministerstvo kultury
Fond kinematografie
Evropská unie
Město Jihlava
Kraj Vysočina
Česká televize
Český rozhlas
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