News | Ji.hlava IDFF

15.10.2020

Competition sections of the 24th Ji.hlava IDFF

The 24th Ji.hlava IDFF kicks-off in two weeks! Despite the recent forced shift of the event to digital space, the full-fledged festival programme with over 59 world and 26 international premieres remains. What can the viewers look forward to? The programme features over 220 films: from the latest of Czech and international documentary crop, South Korean film retrospective, comprehensive showcase of Afro-American docs as well as new documentaries focusing on topics that are more than relevant these days: coronavirus pandemic, China and Hong Kong, climate change, and films asking the fundamental question – where is our home? The 24th Ji.hlava IDFF will take place between October 27 and November 8, 2020. “We are sorry that we can’t screen the films in cinemas but we want to see the current situation as an opportunity. One positive aspect is that everyone will be able to get to see the films,” says Marek Hovorka, the Festival Director. “Fifteen years ago, the same year when YouTube was launched, Ji.hlava IDFF founded the first VOD portal dedicated to documentaries. Today, DAFilms.com is one of the leading European VOD platforms,” describes Hovorka the partnership with DAFilms, which will be the festival’s this year’s streaming platform. “The uniqueness of this programme is in the fact that apart from over 220 films available to the Czech viewers, we will offer more than 80 films from Ji.hlava’s competitions to audiences worldwide, released in their World, international or European premieres,” says Diana Tabakov, the Executive Director at DAFilms. This year’s Ji.hlava will not only focus on films. “In order to bring the unique atmosphere of Ji.hlava to online audiences, we have prepared several simultaneous live streams, all-day live service from the festival’s Lighthouse studio at the Ji.hlava’s central Masaryk square as well as an interactive environment interconnecting the audience with the filmmakers,” concludes Marek Hovorka. Competition sections: Chinese struggle and Latvian coyotes The topic “home” echoes in the Opus Bonum section that offers the most remarkable world documentaries. For example, One Says No by Chinese director Dayong Zha that captures the desperate fight of a man named Azhong against a brutal construction lobby to save his home. Expanding Chinese cities are swallowing the countryside, their inhabitants are forced to make space for new houses and businessmen from urban areas. The majority of the locals gives in to the pressure: despite poor compensation and bleak prospects of dignified housing. Azhong decides to stand up against the system. The raw documentary is based on his testimony that he is giving from a barricaded flat. Between the Seas section brings the best documentary production from Central and Eastern Europe, reflecting on the topic of our search for home in film titles such as Refugees Are Welcome Here by Tomáš Rafa. The film captures the uncertain situation of refugees in refugee camps in Berlin. “When you are shooting with extreme right-wing groups,” says the director “the most important thing is to act as if you belong among them, and keep calm. I don’t take part in discussions and I only record their words because they themselves want it, I don’t ask questions,” says Rafa. Film Latvian Coyote directed by Ivars Zviedris brings a dramatic story of smugglers from the Latvian-Russian border, called coyotes. They are risking their freedom for a small reward, setting others free and wandering through endless swamp woods and villages full of abandoned and dilapidated houses. The trauma of ethnic Germans in Eastern Europe is explored by the Serbian film, Belonging by director Tea Lukač. Their cohabitation with the local ethnicities ended during WWII when their German identity became a pretext for brutal violence. Only one tenth of them survived. Their concealed trauma gets to life in the memories of witnesses that all merge into the question of whether national identity implies the responsibility for acts conducted in its name. “The issue of belonging is universal,” says Lukač. “It consists in the desire to define oneself in relation to others and at the same time it is a given fact that we didn’t choose.” Film discoveries: Ji.hlava’s First Lights The First Lights section that each year discovers remarkable documentary debuts will include the Portuguese film, Ghosts: Long Way Home directed by Tiaga Siopa. The filmmaker visits a house where his grandmother used to live and follows the traces of her life by contemplating on the objects that have been left. Home of One's Own by Lebanese director Ruba Atiyehse shows how an intimate self-therapeutic video-diary can help you overcome the feeling of alienation and find your own roots in a foreign country. The director herself lives in exile. Motherlands by Italian director Gabriel Babsi relates a story of a man called Hervé who fled the war in Ivory Coast to Greece where he found a new home and a new job: living in a squatted apartment and working as a people smuggler. “What is morality when you don’t have a choice?” asks the film’s director. “What is ethical when you have no rights? Can we be judged? And if so, by whom?” A refugee from Syria who takes diligent care of his little garden at the outskirts of Remse in France and who would like to exchange his temporary asylum for a permanent home is the main protagonist of Gevar’s Land. A House by French director Judith Auffray provides a raw account of how people living with autism learn to be at home. Duo of authors George Tiller and Maéva Ranaïvojaona is searching for a father who has long disappeared in Austrian-Madagascar film Zaho Zay. The film has been influenced by psychoanalysis and is composed of mesmerising images of Madagascar society ravaged by war, poverty, corruption and criminality. Experimental sections: Catastrophe, collapse and magicians What else will be there to see? Certainly the experimental competition sections, Fascinations and exprmntl.cz. That will bring, among other films, the new title by French experimental filmmaker Jacques Perconte – Before the Collapse of Mont Blanc. It poses the question whether we are the last generation that will see snow on the mountain top. A profound physical experience comes in the form of a film experiment reviving George Romer’s old horror classic Night of the Living Dead made by Israeli video-artist Guli Silberstein who reflects on the current anxiety of the first months of the covid pandemic. “The combination of video and digital image has helped me express my fear and paranoia associated with the covid pandemic,” says Silberstein. The section will also feature the best of Czech experimental cinema. Visual artist Lea Petříková will bring to Ji.hlava her new film After the Magician that references the work of French-Mexican surrealist Alice Rahon. In 1947 the filmmaker produced her first and last film called Les Magiciens; sadly, it got lost before its first screening. This has been the inspiration of the author’s dream about a film that was never seen, about a meeting with an artist that has unfairly been almost forgotten. Zbyněk Baladrán will screen his film, Catastrophe that references a one-act play by Samuel Beckett dedicated to former Czechoslovak president Václav Havel in prison. Czech Joy: Švankmajer and the Wolves Czech Joy section, which presents the new Czech documentary works will bring the premiere of Wolves at the Borders by director Martin Páv who captures the approach of locals to the wolves returning to the Broumov region. The film concentrates on the relationship of people and wild nature. “To what extent are we willing to accommodate the unpredictability of the world that does not only belong to us?” asks the director. The Czech competition will also feature three film portraits of filmmaker and world-renowned surrealist Jan Švankmajer and visual artist Jan Jedlička. Surrealist artist Jan Švankmajer is captured in the film Alchemical Furnace made by the duo of authors, Jan Daňhel and Adam Oľha. The film is trying to identify Švankmajer’s creative methods and his sources of inspiration. “Our aim was to create a formally independent film that will not imitate Švankmajer’s signature style,” says Adam Oľha. The film titled Jan Jedlička: Traces of a Landscape directed by Petr Záruba portrays the figure of Jan Jedlička, visual artist, photographer and experimental filmmaker who emigrated to Switzerland because of the political situation in Czechoslovakia in 1968. Among the other films showcased in the Czech Joy section will be film essay White on White by Viera Čákanyová. During her stay in the Antarctic, the author was chatting with artificial intelligence, discussing topics related to cinema, art and the meaning of life. The duo of directors Vít Klusák and Filip Remunda will present an international premiere of their most recent film Once Upon a Time in Poland. Short Joy: viewers will decide the winner Before the online start of the festival, the viewers will be treated to a preview of festival films from the Short Joy section. All nominated short docs shown in their world or international premiere will be available for free at DAFilms.com starting already on October 19. The viewers will be voting via dafilms.com portal until October 29 and the winner of the DAFilms Audience Award will be given online distribution and promotional services in the amount of 3 000 EUR. All of the participants in the vote will have the chance to win an annual subscription to DAFilms.com and other benefits. The Short Joy films will then be presented also as part of the online festival programme at www.ji-hlava.com until November 8. 100 years of South Korean documentary The non-competition section Transparent Landscape that annually showcases the cinema production from one selected country will this year focus on South Korea. The comprehensive showcase will start with films from 1920s that capture the boom of Korean cities and industries until the films from recent decades. In 1988, Dongwon Kim made Sanggye-dong Olympic following the preparations of the Summer Olympics of 1988. At the time, Korean government kicked one hundred and sixty families out on the streets, tore down their houses in the slums of Sanggye-dong in Soul where they built luxury flats. The director spent three years with the families and witnessed their desperate struggle with the state authorities. The film initiated a new era of Korean social documentary. Another chilling documentary is The Murmuring directed by Byun Young-joo who describes the trauma of Korean women who served and sex slaves to Japanese soldiers in WWII. Viewers will have the chance to see the very first experimental film in the history of Korean cinema. The Meaning of 1/24 Second made by Ku-lim Kim. Its fast-paced collage is critical of the drastic urbanization of the city of Seoul. Black Cinema Matters “This year’s topical section Black Cinema Matters is not intended as a superficial response to the Black Lives Matter movement, on the contrary – the current social turmoil prompted us to draw attention to the rich and inspiring tradition,” says David Čeněk, the section’s programme selector. “The section introduces a radical change in the perspective of the Afro-American narrative, which has long been dividing not only American public but is also bogged down with a lot of prejudice, ignorance and lack of empathy,” says Marek Hovorka. The section will comprise exclusively of works by Afro-American filmmakers attesting to their direct experience with racism and violence. As a paradox, this authentic testimony has been marginalized or presented predominantly by other than Afro-American filmmakers. American curator Greg de Cuir Jr. was a consultant of the section. The showcase will include Symbiopsychotaxiplasm, Take 1 directed by William Greaves. “A doc documenting the documentary shooting of a documentary” this could be the motto of the film made in the tradition of cinema verité: a competition for a fictional film taking place in Central Park in New York which transforms into a riveting experience of the process of filmmaking thanks to the parallel shooting of three independent crews. Ji.hlava Industry programme The rich Industry programme will take place online and will include a number of projects focused on film professionals, such as the Emerging Producers workshop focused on up-and coming European producers, Conference Fascinations on the distribution of experimental works, virtual meeting of film festival representatives Festival Identity, presentation of new Czech documentaries Czech Joy in the Spotlight, educational seminars including Media and Documentary and the Ji.hlava Academy, and a wide range of discussions with film producers and distributors from V4 countries. Industry accreditations are intended for film professionals and film school students and this year are issued free of charge. IDF will present the Silver Eye awards During the 24th Ji.hlava IDFF, the Institute of Documentary Film (IDF) will organize an online version of the traditional East Silver Market with Central and Eastern European films for film professionals. Two international juries will decide on the best films on the market and the winners of the Silver Eye Awards. Eight films have been nominated in the short-film and eleven films in the feature-film category. The Ex Oriente Film workshop will offer its programme to the public starting already on October 19 – 24, 2020. 13.10.2020

Festival Poster Competition

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Ji.hlava Online Accreditation

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Moving to digital asylum

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Films on COVID-19 in the festival programme

The 24th Ji.hlava IDFF starts in three weeks. “We believe that despite the pandemics, the festival will take place on site in Ji.hlava. Personal meetings are irreplaceable as a source of inspiration, and films are primarily made for the big screen”, says Ji.hlava festival director Marek Hovorka. The current COVID-19 pandemic will also be reflected in this year’s festival programme not only in terms of safety measures, but also in the form of films dedicated to the issue. The Ji.hlava IDFF will show the latest film CoroNation by artist Ai Weiwei, capturing the situation of isolation in Wuhan at the start of the year. Covid-19 started spreading into the world in December 2019 from Chinese city of Wuhan and turned the world upside-down. It affected the entire society as well as our culture. “It is more than evident that the virus will change the whole society and these dramatic changes will also affect cinemas. Therefore, it is important to organize our festival, to support filmmakers, cinema operators and filmgoers,” says Marek Hovorka. “This year we will already bring the first films focusing on this phenomenon.” The audience will see the Czech premiere of feature-length documentary by Chinese artist and activist Ai Weiwei. The awaited film CoroNation captures events in Chinese Wuhan between January 23 and April 8, during the most challenging weeks of the quarantine. The film follows the stories of “ordinary” people mourning their dead, fighting bureaucracy and trying to “just” live. “To maintain stability, the government uses huge amounts of money and many people to follow and control me,” says a man who is desperately trying to get an urn with the ashes of his father from the authorities. “Why don’t they use these sources to actually help us?” he asks. Ai Weiwei, who also designed last year’s Ji.hlava awards, and his Coronation follow up on one of his previous films with a similar theme: seventeen years ago he critically captured the situation of the SARS epidemic in a documentary entitled Eat, Drink and Be Merry (2003). The world premiere of a Romanian film cycle Around the Home in 60 Days that was made in spring of this year will be a more poetic experience. Seven Romanian documentary filmmakers reflect on the isolation due to pandemic and show different ways of coping with the crisis. Poetic montage of found footage is combined with compilations from public cameras around the world and with scenes from a puppet fairy-tale, and a visit from the outer space. “Empty streets look exactly the same on one night at Sukhumi in Abkhazia as in the afternoon in Bucharest during a nationwide lockdown,” to quote one of the films. Spanish film Interregnum by directors Fernando Gómez-Luna and César Souto Vilanova. It unfolds through “film letters” exchanged by two friends: one in Spain, and the other in the USA. They could not work together in person as their countries were most hit by the pandemic. Closed cities, isolation, frozen social and cultural life. The two friends decided to continue and survive the crisis actively: through lively correspondence using the film medium. Ji.hlava will host the world premiere of the film. Dissipatio by Italian director Filippo Ticozzi is a cinematic contemplation on time in the pandemic world. “Time turned into something peculiar. We were trying to be as silent as possible, terrified by our breath while our home turned into the kingdom of a new kind of time,” says the director about their film project that will see its world premiere at Ji.hlava. The topic of the corona virus also reflects itself in experimental cinema. Fascinations will show 14-minute hybrid film The Devil Had Other Plans (Act 2) by British director Guli Silberstein, which works with the viewers’ senses and reflects the “pandemic” feelings of fear and paranoia. Czech docs that reflect on the pandemic will also be included in the popular section Czech Television Documentaries. Among the film titles will be Tereza Nvotová’s New York in the Time of Corona, a unique look at the “paused” New York, one of the epicentres of the COVID-19 pandemic. Hospital in the Frontline by Zuzana Kirchnerová Špidlová and Adam Oľha follows the extremely difficult work of healthcare professionals during the battle with COVID-19. And what about Ji.hlava? The Ji.hlava IDFF will take place as scheduled! “We are getting ready for a physical event. Personal meetings are irreplaceable as an inspiration, and films are primarily made for the big screen. However, this can only happen if safe environment is guaranteed by the festival organizers,” says Marek Hovorka, the Director of Ji.hlava IDFF, who continues: “Of course, we expect less visitors, but the situation can also be seen from a different angle: this year, Ji.hlava will offer enough seats to watch films and enjoy discussions that were too packed in the previous years. Consequently, visitors can look forward to a unique and concentrated experience, pure inspiration.“ Inspiration Forum using digital technology The preparations of the Ji.hlava’s discussion platform – Inspiration Forum – which will this year see its tenth edition are also in full swing. The visitors can look forward to six days packed with debates and discussions. “Digital technology will connect the audience and guests of the Inspiration Forum with speakers who cannot join the discussions directly in Czechia due the pandemic,” says Marek Hovorka. What topics will the Inspiration Forum offer? The potential of African continent will be discussed as well as the possibilities of feeding humankind and the impact of intelligent technology, the status of women in religion and why is the “crisis narrative” problematic. These issues will be explored for example by American professor Jessica Fanzo, who is an expert on nutrition and immunology and has for 20 years been researching the ways of reducing hunger in developing countries. The Forum’s guests will also feature South African philosopher Ndoni Mcunu, director of NGO Black Women in Science that supports African scientists. American journalist Peter Tinti, who focuses on human rights and organized crime, will talk about the issue of migration. The guest speakers will include Austrian social scientist and management philosopher Harald Katzmair who is a prominent expert in applied analysis of social networks. The topic of digital capitalism will be discussed by German social scientist Philipp Staab. 17.09.2020

Inspiration Forum 2020

15.09.2020

Special sections of the 24th Ji.hlava

What will the 24th annual programme of Ji.hlava look like? In line with tradition, the festival will offer classical and experimental creative documentary cinema and themed retrospective plus a number of off-competition sections. ● Tilda Swinton and speed end of humankind ● Special Event ● Constellations ● Testimonies ● Polish trends ● Conference Fascinations: Poland ● Fascinations: Garden ● Discovering female creativity ● Siren Test ● Offscreen program Tilda Swinton and speed end of humankind The Special Event section that focuses on outstanding cinematic events will this year feature the first and last film of the above-mentioned Icelandic filmmaker Jóhann Jóhannsson called Last and First Man. And because the director died unexpectedly two years ago, his film was finished after his death. This “sci-fi poem” speaks about the end of humankind. It has been inspired by brutalist socialist monuments in former Yugoslavia, a text by British philosopher and author of sci-fi novels, Olaf Stapledon and Jóhannsson’s music. The film is narrated by the voice of Scottish actress Tilda Swinton who received the Golden Lion Lifetime Achievement Award at the Venice Film Festival just a few days ago. Special Events section Last and First Men (Jóhann Jóhannsson, Iceland, 2019) Five Hundred Plateaus (Andrea Slováková, Czech Republic, 2020) Constellations section The Constellations section showcasing the best of films shown at festivals over the past year will treat us, for instance, to Epicentro by Austrian filmmaker Hubert Sauper, the winner of the World Cinema Grand Jury Prize in the documentary category. It is a portrayal of the current version of the “island of freedom” – communist Cuba. In the film, Sauper again concentrates on the topic of colonialism that has been his long-term focus: Cuba was colonized first by the Spanish, then the Americans and finally rich western tourists, including the director. “I find one thing especially fascinating in relation to Cuba - the fact taht despite the isolation of their society, the people are highly educated. Cuban reflection on the contemporary world is super interesting,” says Hubert Sauper. A similar topic, only on a different backdrop will be explored by Merry Christmas, Yiwu, by Serbian director Mladen Kovacević. The film is set in Chinese city of Yiwu with six hundred incredible factories producing Christmas decorations and people fluctuate between the faith in communism and desire for the “Chinese dream”: a bit of freedom, wealth and love. Todd Chandler’s Bulletproof will take us among American students. On the backdrop of school rituals such as basketball matches and student parades he explores the phenomenon of “school shooters” and how they have transformed the US society. I Walk (Jørgen Leth,Denmark, 2019) Epicentro (Hubert Sauper, Austria, France, USA, 2019) Merry Christmas, Yiwu (Mladen Kovačević, Sweden, Serbia, France, Germany, Belgium, Qatar , 2020) The Truffle Hunters (Michael Dweck, Italy , USA, Greece , 2020 ) The Foundation Pit (Andrey Gryazev, Russia, 2020) Bulletproof (Todd Chandler, USA 2020) Microcassette – The Smallest Cassette I've Ever Seen (Igor Bezinović, Ivana Pipal, Croatia, Serbia, 2020) The First Bridge (Laila Pakalnina , Lithuania, 2020) Me and the Cult Leader – A Modern Report on the Banality of Evil (Atsushi Sakahara, Japan, 2020) The Metamorphosis of Birds (Catarina Vasconcelos, Portugal, 2020) The Wall of Shadows (Eliza Kubarská, Germany, Poland, 2020) Testimonies section The unbelievable story of Lithuanian seaman Simas Kudirka will be a part of the competition section Testimonies. During the Cold War, Kudirka randomly encountered an American ship on the sea. He made a dramatic leap from the board of the Soviet vessel to find his way to freedom. However, Kudirka was sent back to Russia. Rare footage in The Jump sheds more light on the global tensions in 1970s. Testimonies will also offer an intimate cinematic portrait of Marina Abramović, Serbian performer and body-artist who calls herself the “grandma of performance art” and has been pushing the limits of art expression for forty years. Homecoming: Marina Abramović and Her Children was made by Marina’s compatriot Boris Miljković. The Jump (Giedre Zickyte, Latvia, Lithuania, France, 2020) Homecoming – Marina Abramovic and Her Children (Boris Miljković,Serbia, 2020) Polish trends Festival retrospectives will also be packed with exciting film titles. Following last year’s theme of erotica, this year the experimental retrospective will focus on the phenomenon of gardens. “The garden is one of the popular motives, metaphors and visual inspirations in the film avantgarde,” says the section’s programmer Andrea Slováková. “The selection also showcases various approaches and methods of presentation: from Norman MacLaren’s stop motion-animation through exquisite structures of Kurt Kren, Takahiko Iimuru or Steina Vasulka, to works where garden artefacts are glued directly to the film reel, such as Biostructure by Alice Růžičková.” This year’s Fascinations will feature films made over the past 120 years. The selection will also include the pioneer of film abstraction Oscar Fischinger and US avant-gardist Stan Brakhage. The audience will traditionally be introduced to the unique experimental and underground cinema of one of the East European countries. Last year’s focus was Ukraine and this year’s attention will turn to Poland. “For six years already, Ji.hlava has been mapping experimental and underground film production from the countries of the so-called Eastern Bloc. Poland experienced strong experimental trends mainly since the 1970s and this part of filmmaking and thinking has been significantly affected by the National Film School in Łódź,” says Andrea Slováková. The Polish value this facet of cinema which they have thoroughly explored and processed. “From among the countries and regions that we have covered, Poland is most advanced in terms of their mapping and care for this type of films,” adds Andrea Slováková. The section will feature renowned directors including the representative of Polish New Wave, Jerzy Skolimowski and works that have yet not been discovered internationally. Conference Fascinations: Poland My city (Wojciech Has, 1950) There and Here (Andrzej Pawłowski, 1957) Article Zero (Wlodzimierz Borowik, 1957) The Musicians (Kazimierz Karabasz, 1960) My Street (Danuta Halladin, 1965) Pavement (Ryszard Waśko, 1972) A Square (Zbigniew Rybczyński, 1972) ABC (Janusz Polom, 1974) Video C (Pawel Kwiek, 1975) A Cube of Sugar directed: Jacek Blawut, 1986) Kineforms (Andrzej Pawlowski, 1957) Somnambulists (Mieczyslaw Waśkowski, 1957) Erotique (Jerzy Skolimovski, 1960) Sweet Rhythms (Kazimierz Urbański, 1965) System I-VI (Ryszard Waśko, 1973) My Film (Józef Robakowski, 1974) Text Door (Wojciech Bruszewski, 1974) Input output (Wojciech Bruszewski, 1977) A New Book (Zbigniew Rybczyński, 1975) Video A (Pawel Kwiek, 1974) Exercises for Two Hands (Józef Robakowski, 1976) Working Women (Piotr Szulkin, 1978) Fascinations : Garden Film Studies of Impatiens, Vetch, Tulip, Mimosa, and Desmodium (Wilhelm Pfeffer, Germany, 1900) Poem 8 (Emlen Etting, USA, 1932) Neighbours (Norman MacLaren, Canada, 1952) Mothlight (Stan Brakhage, USA, 1963) Easyout (Pat O’Neill, USA, 1971) There is a garden in my head (Jacques Verbeek, Karin Wiertz, Netherlands, 1987) Our Garden (Martin Čihák, Jan Daňhel, Czech Republic, 1993) Lilium (Karø Goldt, Austria, 2002) Wax Experiments (Oscar Fischinger, Germany, 1921-26) Bloeiende bloemen en plantenbewegingen (J.C. Mol, Netherlands, 1932) 3/60 Trees in autumn (Kurt Kren, Austria, 1960) Carol (Ed Emshwiller, USA, 1970) Selected Treecuts (Steina Vasulka, USA, 1980) Ma: Space/Time in the Garden of Ryoan-Ji (Takahiko Iimura, Japan, 1989) Biostructures (Alice Růžičková, Czech Republic , 1998) Dendromité (Karine Bonneval, France, 2017) Discovering female creativity The music film section has been an integral part of the festival. This year, its main theme is clear: films about female protagonists made by female filmmakers. “It just turned out this way,” says the curator of the Siren Test section Pavel Klusák, “we are obviously living in an era where female creativity is getting massively uncovered. The authors of today and of the past.” Sisters with Transistors is a great lesson on outstanding women who have influenced electronic music. Riveting film portrait called Lydia Lunch - The War Is Never Over indicates the close connection between radical art and social change utopia. Music film and event curator Pavel Klusák also prepared a seminar called Gotťák with rare audiovisual testimonies relating to the career of Karel Gott - the brightest star of former Czechoslovakia. Siren Test Lydia Lunch – The War Is Never Over (Beth B.,USA, 2019) Sisters With Transistors (Lisa Rovner, Great Britain, 2020) Offscreen program The accompanying music programme also focuses on several communities that confirm that creativity (even without singing) is oftentimes of a collective character and is reinforced in communities. You can look forward to PIO or the Prague Improvisation Orchestra or to the original programme by SoniXpace, curated by Michal Rataj, which will present trio Hornscape, Ivan Boreš, Michal Nejtek, Jan Trojan and Michal Wróblewski. The new wave of authorial music and sound art will be represented by Veronika Svobodová and Julie Lupačová. We are also proud to present the audio selection of filmmaker and thinker Karel Vachek whose commented playlist will illustrate a unique confrontation with Vachek’s values, taste and “theory of matter”. 15.09.2020

Official spot of the 24th Ji.hlava IDFF

Directed by Mike Hoolboom 17.08.2020

Emerging Producers 2021

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Docu Talents from the East

We have announced the 2020 Docu Talents from the East @Sarajevo FF projects