19th jihlava idff programme specials 4

Fascinations

The visible world is a set of light impulses passing through a lens (in the eye or in the camera). It grows out of colors created by bending light of changing wavelengths.

An explosive party on a picturesque beach, muscular surfers exposed to the hedonistic stares of a lustful camera.

Brightly lit flashes of the landscape, faces and things appear at lightning speed and with upsetting partiality.

Another found footage experiment with added anaglyph 3D film effects: exploring living quarters, venturing into the park, and embarking on a train journey.

An empty road in the deserted countryside undulates through the hilly terrain. In this dramatic miniature, flashes of digital image inverting into the negative build tension during a night drive, alternating with the foggy expanse of the surrounding landscape.

This pictorial collage of places in the real and virtual worlds, shown in promotional spots that should lure the investment of presented companies or countries, or on the phone in company cars, is imagined through the fragmentariness of quick transactions and the necessary divisions of macrodata.

Sports activities, miniaturised in a stop-motion collage, become a symbol of national pride and public emotion.

Restless observations within a constellation of close-ups and wide-angle shots turns naturally articulated landscapes and changing elements into unreal intra-images, moving fields of reflections, and the backsides of figures and abstract motifs.

A dystopian collage of found footage presages the destructive action of the elements in the macro-dimensional planetary transformation of the landscape.

The contours of the visible are explored through found images that unify the possible perspectives afforded by views from above.

As it calmly explores the grounds of Expo 67, this found-footage collage travels back in time to when Montreal hosted this exhibition of civilizational progress.

This sample of African avant-garde creation, based on capturing daily routine through quiet observation, shows the everyday life of women and children set against surrealist images of enormous pieces of dead animals being moved, portioned and processed.

Meandering shadows of the city’s scenery presented as an urban model, covering selected areas on close and remote composition planes.

A dialog between a man and a woman who repeatedly pass each other as they constantly move away from known places in the metropolis and their own quickly adapted identities is revealed in frequently out of the ordinary fragile explorations about ordinariness and the somewhat fragile human units in them.

The dispersion of moving outlines emphasises the fragility of the images of solid structures, which, converted to flickering projections, disappear in bright clouds of film luminance..

Fragmentary glimpses of a full moon shine through clouds floating past in digitally animated compositions.

A fragile composition with half-tones of everyday drama, built on the bustle of a harbour.

A mediated reality breaks the world down into sub-scenes, tiny narratives into which the context of the real world penetrates only in partial details.

A journey through a forest of real and digital trees, realized by flying through the treetops, reveals surprising constellations of plants in all directions.

The filmmaker photographs a collection of items recalling the filmmaker’s seriously ill mother.

The propagation of abbreviated visual scenes presents a situation characteristic of xenophobic behaviour and conflicts with repressive elements, whilst, at the same time, the text flowing over the image elaborates on the concept in several languages.

An inventive plan for dealing with traffic jams in Jakarta by building a monorail failed because of poor investment decisions and was put on hold for 10 years.

This reflective work exploring the concept of eyewitness testimony develops in the in-between visual stages during the transformation of digital images to analogue.

An exploration of the form and essence of Jean Baudrillard’s concept of hyperreality, the film splits visual fields away from footage of urban landscapes, abstracts the urbanist structures of roads, buildings and streets, and by multiplying, reflecting or projecting them onto a map, model or concept, emphasizes the absence of tangible and provable reality at the heart of the composed images.

This adaptation of José Saramago’s 1995 novel Blindness works with 6,386 photographs of places, things and people that are a part of the book’s world.

This collage of found footage, based on surrealist techniques of collaborative creation, elaborates on the motif of desire by combining excerpts and segments containing erotic motifs from films made during the 1960s to 1980s.

Footage from both hidden and visibly present cameras captures the treatments applied at a psychiatric hospital in Ohio under the supervision of Jeffrey Paull in 1967. His patients also took pictures and recorded one another on film.

A rapidly edited re-reading lends a geometrical clarity to the texture of objects typically found in the urban environment.

Raw and non-manipulated material documentation captures the effects of various types of radiation in the vicinity of the Fukushima power plant in Japan.