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24th Ji.hlava International Documentary Film Festival

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An Angry Crowd
An Angry Crowd
An Angry Crowd
An Angry Crowd

An Angry Crowd

director: Jean-Michel Rolland
original title: Une Foule en Colère
country: France
year: 2019
running time: 4 min.

synopsis

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     

biography

French musician and painter Jean-Michel Rolland (1972) added digital art to his artistic endeavors. By combining these disciplines, he creates experimental videos with his own original musical soundtrack. He often works with static shots into which he inserts moving images. The 2018 Ji.hlava festival showed his film Musical Landscape

more about film

director: Jean-Michel Rolland
producer: Jean-Michel Rolland

other films in the section

In This Valley of Respite, My Last Breath...
Wandering on the edge of darkness, the camera records grainy objects and pulls hesitant signs of the searched-for refuge from the darkness. By carefully working with light, the filmmaker sketches a unique place bathed in silence and uncertainty, on the back of specific depictions of buildings and landscapes. “The theme explored in my work is that of ‘journeys’ – both physical and metaphysical; alluding to isolation of the individual and isolation of place.” SJ. Ramir

In This Valley of Respite, My Last Breath...

SJ. Ramir
Australia, New Zealand / 2017 / 5 min.
section: Fascinations
World Premiere
We Are Without
An unknown entity wanders through a constructed reality to the brink of nothingness - a town in the fog. The film evokes the shadows of a grainy black-and-white dystopian landscape, from which, however, we can see mere fragments, intertwined with shots of the details of male hands. Ramir’s films are characterized by his unique style, achieved through the use of special lens filters.    “We Are Without is a visual response to life, death and self-deception.” S.J. Ramir  
personal program

We Are Without

SJ. Ramir
Australia, New Zealand / 2020 / 3 min.
section: Fascinations
World Premiere
1/8
The film’s title refers to the sharpness of human vision when compared to that of a hawk. The deformations and blurriness of the image, dependent on the density of photoreceptors, hide concreteness. The allusion to the myth of Icarus addresses questions of distance and clarity, while the meticulous rhythm of the narrative develops the themes of point of view and falling from great heights.“This film focuses on the world that exists outside of stories. By destroying the main story of man, I wanted to discover all that has been erased from him or that is trapped outside of him.” R. Hayama

1/8

Rei Hayama
Japan / 2017 / 13 min.
section: Fascinations
World 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
Concrete Cinema
Working with the principle of concrete music, the filmmaker layers and meticulously overlays images into such a mightiness that it creates abstract compositions of memories, thus exploring how they progressively change thanks to the selective nature of memory and the possible resolution of the digital medium. The work of Japanese filmmaker and programmer Makino Takashi (1978) is influenced by London’s Brothers Quay, and is marked by an eclectic approach that makes use of video art and a diverse range of cinematic techniques. Takashi sees the image and musical soundtrack as equal components in his work. His film Generator (2012) won the Tiger Award at the Rotterdam International Film Festival.“The challenge was to start from the concrete, go to the abstract, and then use the abstract to create a concrete abstractness.”

Concrete Cinema

Makino Takashi
Japan, Netherlands / 2015 / 24 min.
section: Fascinations
Czech Premiere
When You Awake
A scary yet funny tale about the journey to collective unconsciousness via experiments with hypnosis through a collage of found footage from instructional, documentary, and fictional films, layered with themes of personal experiences and frustrations, reflections on social stereotypes and desires, and images of wild or strange animate and inanimate nature. Jay Rosenblatt (1955), American independent filmmaker and trained psychotherapist, is the creator of over thirty films in which he examines the nature and limits of the human psyche and emotions. He has received over a hundred various awards for his work. In addition to teaching, he also organizes the San Francisco Jewish Film Festival. His films I Just Wanted To Be Somebody (2006), Four Questions for a Rabbi (2008), and I Used to Be a Filmmaker (2003) have been screened at the Jihlava IDFF.“When You Awake was a pleasure to create, and hopefully that will come across to the audience. It was a nice departure for me since it is more playful than many of my films.”

When You Awake

Jay Rosenblatt
United States / 2016 / 12 min.
section: Fascinations
Czech Premiere
ENOLAEMEVAEL
This remake of Man Ray’s celebrated Emak Bakia (1926), which uses a cameraless method of creating hand-processed film images in high-contrast black-and-white, refers to the original film even in its subject matter as well: continuing with the motifs of death, it works with artifacts and documents from US drone attacks on Pakistani territory in 2015. Kathryn Ramey (1967) is an American filmmaker, anthropologist, and teacher at Emerson College in Boston. Through celluloid manipulation and hand developing film stock, she creates new audiovisual forms that search for points of intersection between anthropological studies and experimental film. Her works have received numerous awards at international festivals.“Combining experimental process - es with theoretical premises and anthropolo gy, my films and installations seek to deconsecrate the ‘real’ of conventional documentary and agitate the viewer to seek out subjugated narratives in dominant media culture.”  

ENOLAEMEVAEL

Kathryn Ramey
United States / 2016 / 7 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
Some Clouds Float Distant
A visual illustration of the process of remembering, when the mind associates the image of an object with similar images based on the person’s mental organization. These are more a reflection of his identity than an imprint of real things and events. “I’m interested in creating works that exist as experience themselves. I consider it necessary to implement the sensitive, the sensual, the experiential into the artwork: to appeal to an erotic of artwork.” G. E. Veloso

Some Clouds Float Distant

Gonzalo E. Veloso
Spain / 2017 / 6 min.
section: Fascinations
World Premiere
SHASHIN NO MA
The word 間 (ma) in Japanese expresses the awareness of interval / space, not in the traditional notion of a closed three-dimensional entity, but rather as form and non-form mediated by amplified senses. These are confronted by an experimental film that explores the notion that a film’s content is the cinematic equivalent of reality.   "SHASHIN NO MA, literally means MA(間) of photograph. It is an homage to my father, all the fathers who film their children and history of amateur cinema." T. Maruyama
personal program

SHASHIN NO MA

Tetsuya Maruyama
Brazil, Japan, United States / 2020 / 6 min.
section: Fascinations
World Premiere
Displacement
The image’s fragile cohesiveness, disturbed by digital disintegration and overlays to create a visually impressive composition, emphasizes the need to think about remediated messages on the subject of nationalism and militarism, for the filmmaker works with images of Palestinian fields being burnt by Jewish settlers and vows taken by Israeli soldiers at the Wailing Wall in Jerusalem. “My work tracks patterns in nature, landscape and human form, perceived by camera and mind, struggling to comprehend the vast intensity of the living experience of the world through electronic media.“ G. Silberstein     

Displacement

Guli Silberstein
United Kingdom / 2019 / 5 min.
section: Fascinations
World Premiere
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  

WHERE DO WE GO

Siegfried Alexander Fruhauf
Austria / 2018 / 4 min.
section: Fascinations
International Premiere
Ministerstvo kultury
Fond kinematografie
Creative Europe
Město Jihlava
Kraj Vysočina
Česká televize
Český rozhlas
Aktuálně.cz
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