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24th Ji.hlava International Documentary Film Festival

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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

Hypnodrome
The simple combination of movements by the camera and the observer creates a hypnotic ride in which, despite a voiceover emphasizing calm and relaxation, rotating objects and lights create an unsettling physical experience and dig the viewer´s imagination deep into grogginess of unsettled look. “Hypnodrome is motion-induced delirium. A cinematographic look through the ‘egocentric camera’ and an homage to cinema as a site of contemplation and trance.” R. Wilhelmer

Hypnodrome

Richard Wilhelmer
Austria / 2017 / 5 min.
section: Fascinations
East European Premiere
Inside
Fragments of a body chiseled from darkness carve out a study of a nude female figure, sensual at specific moments, and in places disappearing into digital darkness. A lyrical treatise on intimacy and secrecy and an implicit polemic with a voyeuristic gaze create a longing for constrained completeness. "I dissect the perception and the mental state that arise while being watched, penetrated and examined and the experience of the viewer, involuntary being forced to follow the gaze of the camera." T. Kjellmark  

Inside

Tove Kjellmark
Sweden / 2018 / 10 min.
section: Fascinations
East European Premiere
An Angry Crowd
The paths of a flock of gulls diving for thrown pieces of bread are inverted into traces of light transforming the idyllic image into captivating abstract composition that evokes frenetic expressions of apparent anger or chaos. The effect is further underscored by his work with the sound, in which the cries of the gulls are converted into nervous echoes. “I’m working on the image and the sound /// in order to give new realities to ordinary life /// and share my audiovisual vision of the world /// in experimental video artworks /// since 2010.” J.-M. Rolland     
personal program

An Angry Crowd

Jean-Michel Rolland
France / 2019 / 4 min.
section: Fascinations
European Premiere
Dushanbe
Through the use of animation, the backlit photographs blend with the director’s aunt’s memories of the mountains, the local views, and the inside of the home from which she was forced into exile. The fragments of memory offer insight into life in the diaspora through architectural projects by which the aunt has recreated her native Tajikistan in her new home in Darmstadt.   "Film is grounded in found footage through the photographic, constructing an assemblage from fragments of exile. I focused on colour, texture, and materiality in both image and sound, resuturing diasporic time and space through the slowed-down gesture of animation." K. Friesen  

Dushanbe

Kandis Friesen
Canada, United States / 2018 / 5 min.
section: Fascinations
European Premiere
Field of Infinity
Inspired by Italian Renaissance art, the filmmaker transforms news reports of protests in the Gaza Strip into a painting of people and the landscape, as if the boundaries of fields and meadows were a place for overcoming political limitations and the ability of an expansive viewpoint presented the ideal of inhabiting the visible.  "The struggle for liberation intertwines with nature rejuvenation, creating an array of reflections." G. Silberstein  

Field of Infinity

Guli Silberstein
United Kingdom / 2018 / 5 min.
section: Fascinations
European Premiere
Becoming American
The barcode from Form N-400 – the application for U.S. citizenship – is “naturalized” (a reference to “naturalization,” the term for becoming a U.S. citizen into the image, which is thus transformed into an abstract portrait of the applicant. At the same time, it is converted into sound by reading the visual code with an optical sound reader. Christina Nguyen (1988) hails from Los Angeles and studied visual art and media and molecular biology at the University of California in San Diego. She also received an MFA in film/video from the California Institute of the Arts. Edgar Jorge Baralt (1988) was born in Venezuela and studied film production at the University of Central Florida and at the California Institute of the Arts near Los Angeles, where he currently lives and works. His films explore the subjects of memory, time, and the changing nature of human identity.“The electronic version of the N-400 application form generates a barcode as personal information is entered. We take this conversion of identity into data further by turning this barcode into an audiovisual experience.”

Becoming American

Christina Nguyen, Edgar Jorge-Baralt
United States / 2016 / 1 min.
section: Fascinations
World Premiere
The Philosophy of Horror (Part I): Etymology
The first part of a seven-part adaptation of the influential 1990 book of the same name by American philosopher and art theorist Noël Carroll. In the spirit of cinematic philosophy (filmosophy), Lichter explores various aspects of the horror genre – in this part, primarily the position of the characters, the human bodies, and the types of gazes to which they are subjects – by directly manipulating the body of the film. “The Philosophy of Horror: A Symphony of Film Theory is an immersive meditation on genre theory, which aims to demonstrate the eternal beauty of Art Philosophy and Pop Culture’s interconnectedness.” B. Máté, P. Lichter    
personal program

The Philosophy of Horror (Part I): Etymology

Bori Máté, Péter Lichter
Hungary / 2019 / 7 min.
section: Fascinations
International Premiere
Who's Afraid Of RGB
Another contribution of this authoress to the reflection of genre films, this time dealing with romantic melodrama, confronts the expressive character of the film medium with the viewers’ perception in radical juxtapositions of eyes closely observing the movie Who’s Afraid of Virginia Woolf? and spots of red, green and blue colours that bite into them accompanied by harrowing noises and music. “Who's Afraid of RGB plays with self-referentiality in art, with the relation between artwork and viewer, references to other works of art and to scientific fields, as here to psychophysiology.” B. Roisz 
personal program

Who's Afraid Of RGB

Billy Roisz
Austria / 2019 / 9 min.
section: Fascinations
International Premiere
Hrvoji, Look at You from the Tower
An archeological collage of observations of the traces left by life on the landscape, combined with reflections on ephemerality and historical legacy, set to a music-and-noise composition. Motifs of reincarnation and a possible return, collected while traveling through the former Yugoslavia, culminate with a visit to an abandoned family farm, now accessible only by illegally crossing the border to the European Union. “Through collaborative ways of experiencing how history collides with the present, my work embraces the complexity of a landscape while in the process questioning my own nostalgic and desiring gaze.” R. Ferko
personal program

Hrvoji, Look at You from the Tower

Ryan Ferko
Canada, Serbia, Croatia, Slovenia / 2019 / 17 min.
section: Fascinations
European 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
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  

The Image that Spits, the Eye that Accumulates

Rhea Storr
United Kingdom / 2018 / 11 min.
section: Fascinations
World Premiere
Garden Exercises
A tour of botanical gardens in Bilbao, Toronto and Quito, filmed on a haptic camera as part of a project for developing a camera that will record the things its owner touches. The filmmakers explore the diversity of visual identities at a time dominated by the combination of sight and sound. “The video is a part of the collaborative ‘Haptic/Visual Identities’ project investigating ‘haptic visuality’ through film via a digital DIY prototype. The work presents ‘macro images’ of a garden in a former colonial paradise.” A. Mergler

Garden Exercises

Cristian Villavicencio, Agata Mergler
Ecuador / 2017 / 7 min.
section: Fascinations
World Premiere
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