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24th Ji.hlava International Documentary Film Festival

ji-hlavadok-revuecdfEmerging producersInspiration Forum
Of her Kingdom
Of her Kingdom
Of her Kingdom
Of her Kingdom

Of her Kingdom

director: Vincent Guilbert
original title: Kanojo no ôkoku ni tsuite
country: Japan
year: 2019
running time: 10 min.

synopsis

Memories of sounds, everyday artefacts, fragments of situations, visual traces of gestures along with fleeting expressions of inner movements bring about in a gentle way the blanks and losses in this diary essay on the paramount importance of space and behaviour, duration of (un)happiness and focus on the present moment as a means of defence against exhaustion.

“A film about absence/bereavement; trying to remember "her" gestures and presence through scattered fragments of memories, reminiscences of sounds and a decaying silence.” V. Guilbert     

biography

French filmmaker and photographer Vincent Guilbert (1976) works basically in France, but also in Japan, the latter being a fact influencing his choice of topics. The motifs he tends to develop in his films include the issues of time and memory. He often makes his films by simply switching on the camera and letting his protagonist exist in front of the lens without any major editing interventions.

more about film

director: Vincent Guilbert
producer: Vincent Guilbert
music: Loren Connors

other films in the section

Pastoral
A rural countryside without people stretches out into patterns of nature that overlap with the detailed tracing of the contours of herbs and trees. This rural peace is disturbed by the nervous camera and the layered traces of clumps of grass, branches, and bushes. The blades of grass leave behind their contours, which are sketched into a fleeting image of a meadow with low grass and, here and there, the shadows of trees.

Pastoral

JB Mabe
United States / 2012 / 2 min.
section: Fascinations
European Premiere
Different as night and day
A portrait of a Toronto power plant in the genre of dynamic images. The patient poetics of the ordinary puts together three points of view of two buildings at various times of day, evening, and night. The motionless images seem to merge in slow dissolves. The filmmaker was inspired by Claude Monet’s Rouen Cathedral series – a view of the cathedral’s front under different lighting conditions. The way in which the smoke from the chimneys covers the images when we segue from one to another is based on J. M. W. Turner’s paintings of sunsets.

Different as night and day

Peter Dudar
Canada / 2012 / 16 min.
section: Fascinations
European Premiere
Man in Motion, 2012
Inspired by the analysis of movement in the studies of Eadweard Muybridge and Etienne-Jules Marey, the filmmakers depict the movement of a person going upstairs – except that they use a mirror effect to give the images a new sense of time existing outside of reality, and they replace an analysis of motion with a construction of infinite reproduction.The original chronophotography enabled the depiction of the individual stages of motion through a series of photographs. In the 1870s, such photographs were taken using a flash exposure of a thousandth of a second.

Man in Motion, 2012

Christophe M. Saber, Ruben Glauser, Max Idje
Switzerland / 2013 / 3 min.
section: Fascinations
European Premiere
Requiem
This slow-moving film creates intensive experience of continuously nearly indiscernible - yet in the length of the whole film invariably distinct - changes of shadows, spaces and shapes carved by dark branches into the light mist that besets the statue-like steadiness of the thickening forest just to relinquish it the very next moment. “I wrote poems on the streets, wary of irresponsible parables of nature. The imagination of the street was pain and I loved it. But I still believe that the greatest subverbs are in nature.” M. Yi       
personal program

Requiem

Myun Yi
South Korea / 2019 / 11 min.
section: Fascinations
World Premiere
For Delia
Made on 35mm film without the use of a camera, this film is dedicated to British musician and composer of electronic and concrete music Delia Derbyshire. The filmmaker works with drawings of Derbyshire’s scores and visualizations of her sound and music inventions, accompanied by a musical collage of sound compositions for theater performances. British filmmaker Mary Stark’s artistic roots are in textile design, which she uses as inspiration for her films. Her audiovisual works experiment with the sounds of factories and recording and projection equipment. Besides making films, she also creates audiovisual installations in which she works with the human body, light, shadow, and the materiality of the filmstrip.“My approach is led by directly handling the filmstrip and considering film as a sculptural mass, exploring how it can be presented as a visible tactile material and placed centre stage.”

For Delia

Mary Stark
United Kingdom / 2016 / 17 min.
section: Fascinations
International Premiere
Untitled, 1925
In high-contrast black-and-white images of nature and mountain villages, the filmmaker meditates on family origins and identity while traveling across the Andes along the same route taken in 1925 by her Jewish grandfather (a professional boxer originally from Romania) in order to acquire Peruvian citizenship, which 12 years later allowed him and his family to leave Europe. Peru native Madi Piller (1960) lives in Canada, where she works as an independent filmmaker, animator, and programmer and curator for the Toronto Animated Image Society (TAIS). Her abstract poetic films combine various cinematic styles and techniques and explore themes of memory, introspection, and the search for cultural identity.“Delving into memory and reflecting on territorial space, the film revisits a passage in life. By using 16mm high contrast film and by processing the silver essence of the film material resurfaced as a layer such as the hidden treasures of the Andes.”

Untitled, 1925

Madi Piller
Canada / 2016 / 9 min.
section: Fascinations
International Premiere
Filipiniana
An ironic collage offers a reflection on lords and leaders, their gestures, attributes, characteristics, and deeds. The images, which oscillate between the credibility of archival footage and the artificiality of costume dramas on cardboard stage sets, become hyperboles of the typical attributes of power and engage in, are a radically rebellious play with punk expression. Khavn de la Cruz (1973) is a Philippine filmmaker, musician, and writer, a leading figure of the younger generation of Philippine cinema. He has helped produce 47 feature-length and 112 short films, and founded MOV, an international film, music, and literary festival in Quezon City. In addition to a number of feature-length films (Kamias: Memory of Forgetting, 1999, 2006 Jihlava IDFF; Manila in the Fangs of Darkness, 2008, 2008 Jihlava IDFF), a crosssection of his short films were presented at the 2006 Jihlava IDFF in the Translucent Beings section.“To reimage, rewrite, and reread my country’s bastard history, using dismembered icons and scenographies that both affirm and negate remembered mythology.”

Filipiniana

Khavn De La Cruz
Philippines / 2015 / 13 min.
section: Fascinations
European Premiere
Time, why think about it?
The memories of old people at a senior care facility come to life in fragmentary recollections accompanied by photographs of them and their loved ones and the places and events they remember. The ephemeral nature of these memories is visualised by using painting to alter these images of the passing of time. Belgian artist Charlotte Dunker (1987) uses painting techniques in her films, and also experiments with light-sensitive materials. She works with silence as an opportunity for self-reflection and explores the changeable nature of truth in relation to cultural contexts. The Jihlava IDFF previously showed her film Jupiter Lolopop (2014), in which she used a mosaic of 3,564 paintings to bring to life microstories of everyday life.“This film was realized to gether with the residents of a retirement home through a series of workshops. It fo cuses on the notion of time through the use of family photographs.”

Time, why think about it?

Charlotte Dunker
Belgium / 2015 / 9 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
Proof of Memory
Visual memories collected during the first year after the filmmaker’s graduation from university, altered using computer graphics to create disconnected particles of overlapping scenes showing various forms of depression from burnout, relationship crises, and a lack of physical and mental strength."Feelings that are impossible to be expressed by words can be shown through a camera or a computer." Y. Kawata

Proof of Memory

Yosuke Kawata
Japan / 2017 / 10 min.
section: Fascinations
Central European Premiere
Shapes of Facts
Ghostly hills and inhospitable landscapes created by physically deformed newspapers are a critical allegory of the inner workings of the contemporary media world in which, beside journalists who still hold in esteem reliable and verified information, the voice of those crooking facts and creating parallel and alternative “realities” intensify by the day. “A fact is supposed to be specific and verifiable. The fact you are willing to accept makes your reality of this world. Watch out! There are many different versions of each fact.” Y. Nishimura
personal program

Shapes of Facts

Yoshiki Nishimura
Japan / 2019 / 10 min.
section: Fascinations
World Premiere
Cry Havoc
A mass of protestors in remediated scenes, a becomes an expression of the strength and passion of the crowd, while dynamic abstractions and visual shifts show changing interpretations of people´s expressions within a crowd and of their reasons and objectives for protesting, all in a lightning-fast onslaught of media images. “Cry Havoc is part of a long-term research project in which video works process images of violence and protest from TV and online news media, studying the complex nature and impact of these images, and looking for new aesthetic forms.” G. Silberstein

Cry Havoc

Guli Silberstein
United Kingdom / 2017 / 5 min.
section: Fascinations
World Premiere
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