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24th Ji.hlava International Documentary Film Festival

ji-hlavadok-revuecdfEmerging producersInspiration Forum
Garden Exercises
Garden Exercises
Garden Exercises
Garden Exercises

Garden Exercises

director: Cristian Villavicencio, Agata Mergler
original title: Garden Exercises
country: Ecuador
year: 2017
running time: 7 min.

synopsis

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

biography

Polish filmmaker Agata Mergler (1979) lives in Canada, where she is engaged in developing “haptic cameras” that record the things its user touches. Cristian Villavicencio (1984) hails from Ecuador and in his work explores the relationship between tactile and visual perception and how they are influenced by the digital transmission of sensations using modern technology. The Ji.hlava IDFF previously showed their films Portbou (2016) and Bilbao and the World (2016).

more about film

director: Cristian Villavicencio, Agata Mergler
producer: Cristian Villavicencio, Agata Mergler
photography: Agata Mergler, Cristian Villavicencio

other films in the section

Latency Contemplation 2
Natural textures and close-ups of various surfaces of soil, rocks and water are vertically sliced and rhythmically abstracted. Within the stream of images, this tour of the outer world becomes a way of experiencing the landscape and its transformations, in whose regularity we can find stability and inner peace. “Cho´s internal visions and perception of the outer world come together in an abstract meditation on space, place and sound. Natural landscapes are pushed to the edge of abstraction through layering and other forms of manipulation.”

Latency Contemplation 2

Seoungho Cho
United States, South Korea / 2017 / 8 min.
section: Fascinations
Czech Premiere
Soar
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

Soar

Patrick Bokanowski
France / 2018 / 8 min.
section: Fascinations
Central European Premiere
Tangled
Stitched-together photographs become a drama in which memories are tangled, pierced by holes, and deformed in order to hide the seams of a story of falling in love, being in love, and the end of love, and to inspire further stories in which a family picture reflects norms of behaviour and stereotypes associated with the experience of love. “Relationships with loved ones are always complicated tangled threads. Fragile and solid, addictive and lonely, forming beautiful patterns and painful collisions. The film is an attempt to transmit that vortex into an apprehensible form.” P.-R. Jaik

Tangled

Pille-Riin Jaik
Austria / 2017 / 6 min.
section: Fascinations
International 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
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
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
The Pit
Contemporary and archival footage of the Berkeley Pit, an open pit copper mine in Montana – today filled with contaminated water – is chemically altered using poisonous substances from this water containing copper, arsenic, cadmium, zinc, and sulfuric acid in order to call attention to the destructive consequences of mining. “The film shows the destructive consequences of mine waste through a variety of photochemical processes using the same contaminants found in the water of the pit.“ J. Gerlach
personal program

The Pit

Jona Gerlach
United States / 2019 / 10 min.
section: Fascinations
European Premiere
3 Dreams of Horses
Raw film material consists in part of gelatin, which is made of the skin and bones of animals, including horses. The traces of light that shape our audiovisual dreams are thus imprinted on parts of animal bodies. Through the subtle use of audio, this found-footage collage focuses on images of the horse as an attraction, an animal of burden, and a mythological creature.  "In 1900 there were 130,000 working horses in Manhattan. Horses were a central part of our lives. Jeremy Bentham: "The question is not: can they reason? Nor, can they talk? But, can they suffer?" M. Hoolboom  

3 Dreams of Horses

Mike Hoolboom
Canada / 2018 / 6 min.
section: Fascinations
International Premiere
I Would Leave Everything Here
The patient observation of the four seasons – daytime and nighttime events, manifestations of the natural elements, and the peacefulness of minimalist images – as seen through the window. A dramatic compilation of images into an extraordinary record of the ordinary flow of time. Croatian filmmaker, photographer, and audiovisual artist Ivan Faktor (1953) has been making art since 1975. In 1995, his film At Home was shown at the Venice Biennale, and he also represented his home country at the São Paulo Art Biennial. The Jihlava IDFF previously showed his film Self-Portrait (2006), in which a camera inside the filmmaker’s body records a journey through the human body in the form of abstract images, shadows, and rhythms.“... for here I would leave this earth and these stars, because I would take nothing with me from here, because I’ve lo oked into what‘s coming, and I d on‘t need anything from here.” (László Krasznahorkai)

I Would Leave Everything Here

Ivan Faktor
Croatia / 2016 / 11 min.
section: Fascinations
International Premiere
The River Escapes
An essay on exploitation of homes of native inhabitants and the behaviour of colonists breaks out into an anti-capitalist political pamphlet resulting in divergent horizontal and vertical motifs of a critical analysis of liberal cosmopolitan elites toward life space as a single-use, expandable commodity, contradicting its displaceable character. "To build other worlds, one needs not to abandon western mind-structure but to transduce it with local, specific and ancient notions. This film is the beginning of a quest towards that realization." E. Makoszay Mayén     
personal program

The River Escapes

Eduardo Makoszay
Mexico, Brazil / 2019 / 9 min.
section: Fascinations
International Premiere
Liquid Landscape
After spending two years studying and collecting images created using various wet development processes for 16mm film, Wang explores the visual forms of material fluidity in order to celebrate invisible micro- and macrostructures whose chimeras are laid bare in moving patterns.   "I am often inspired by the beauty of errors produced in analogue film production and use unwanted analogue visual noise and patterns, such as dust or watermarks to create imaginary cinematic landscapes." N. Wang

Liquid Landscape

Nan Wang
Netherlands / 2017 / 12 min.
section: Fascinations
Central European Premiere
below
A surface rhythmised by reappearing image segments of a forest, gets projects during a walk, brought about also by the sound, into a space in which black-and-white and colour footage reveals monochromatic parts. These build up to create an effect of the third dimension, pulling our view into the depth and turning the ingenious schedule of the whole into a cognitive game using 3D representation."Below is not so much about borne suffering or the history of a memorial place. It tells more about the relation of depth-time and space-duration being interwoven in every moment of an image. " B. Spiegel
personal program

below

Björn Speidel
Germany / 2019 / 7 min.
section: Fascinations
World Premiere
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