Jubilee 15th ji. Hlava international documentary film festival
FASCINATIONS Competition for best experimental documentary film of 2011
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FASCINATIONSCompetition for best experimental documentary film of 2011Archeo 29 (Arheo 29; dir. Vladislav Knežević, Croatia 2010) – Pictures from a 1929 entertainment magazine create a sometimes melancholic, sometimes provocative collage anticipating the fall from plenty to poverty, thus evoking a sense of tension between the hedonism of times of prosperity and the shock of world economic crisis and its consequences. Dobrou noc, sladké sny (Good Night, Sweet Dreams; dir. Hajime Kawaguchi, Japan 2011) – Evokes the sense of falling asleep through slowly dissolving images of vague, irregularly moving splotches. Endeavour (dir. Johann Lurf, Austria 2010) – By playfully editing NASA footage, the film looks at the last American space shuttle. Hallucinatory images of daytime and nighttime launches and flights become a brutal attack on the viewer’s attention and perception. Hortus Harare (dir. Andreas Wutz, Spain 2011) – A documentary look at the National Botanical Garden in the capital city of Zimbabwe. Three years after the garden was established, a fourteen-year war broke out that destroyed the beauty of nature. Jednání (Conference; dir. Norbert Pfaffenbichler, Austria 2011) – Various fictional representations of Adolf Hitler, focusing on his facial expressions and the iconic representation of evil. Although there are exceptions, the film gives meaning to repeating features, thus turning the range of actors’ expressions into a frightening drama presenting the Führer’s many different faces and moods. Klid (Tranquility; dir. Siegfried A. Fruhauf, Austria 2010) – The filmmaker seeks out and defines non-places of flight on empty beaches, on the sea, in the air. Ups and owns are dynamic versions of a space in which we can experience a sense of repose. Even on the Moon, mankind found its Sea of Tranquility. Kolekce paní Florestiny (Florestine Collection; dir. Helen Hill, Paul Gailiunas, USA 2011) – An experimental documentary about two women (the director and a seamstress), who are brought together by their love for working with their hands (one with film, the other with fabric) even though they never met. Konec přenosu (End Transmission; dir. Yin Ju Chen + James T. Hong, Netherlands 2010) – A sci-fi documentary about an alien civilization that has come to colonize Earth. The film is proof that all it takes to make the unearthly seem real is a change in viewpoint, exposure time, or level of contrast. Kruh (Circle; dir. Minna Parkkinen, Finland 2010) – Personal dramas transposed onto the calm of nature – for instance, the image of a falling tree – stake out a space of anxiety and sadness, the empty space left behind by a person who is no longer there. Natural poetry in fields of color gives us the impression of a landscape in which chaotic compositions alternate with images of calm skies and expansive fields. Likvidátor (Liquidator; dir. Karel Doing, Netherlands 2011) – Time has left its mark on Haarlem, a 1922 film of urban life. The filmmaker works with the damaged material, exploring and analyzing the film’s physical disintegration that interrupts the fluid motion of the film, thus creating an alternative map of the city’s transformation. Mezi-světy (Entre-deux-mondes / Caught Between Two Worlds; dir. Yann Beauvais, France 2010) – The garden geometry of the royal paths at Versailles, wandering among gilded statues and dry fountains. Nostalgia for bygone splendor is interrupted by a list of rules describing the married life of slaves. By confronting image and text, the film thus takes an abstract view of the disturbing anachronism of the distribution of power. Na cestě k moři (On the Way to the Sea; dir. Tao Gu, Canada 2010) – The filmmaker returns to his hometown, which has been hit by the largest earthquake in Chinese history, to provide a visually moving personal look at the fragility of the landscape, the unsteady monumentality of mountains and towns, and the restless dreams of people who will never forget the tremors. Pamatuji si sny podle jejich barvy (I Remember my Dreams by the Colour They Are; dir. Maria Magnusson, Sweden 2010) – Excerpts from the legendary BBC radio program Inventions for Radio, in which listeners shared repeating motifs found in their dreams, with abstract scenes dissolving in black-and-white splotches and with flashes of specific family memories organized by color. Podkroví (A Loft; dir. Ken Jacobs, USA 2010) – The light-infused loft on the top floor of a building in Manhattan becomes the stage for a dramatic transformation of space, whose depth is an illusion that attacks the viewer’s senses. The film drills through the loft’s solid walls in order to set their geometry in motion. Pohyby nemožného času (Movements of an Impossible Time; dir. Flatform, Italy 2011) – An illusionary representation of the passing of the months, with several layers of time playing out all at once. The film toys with our faith in the chronological coherence of an apparently realistic scene. Po požáru (Apres le feu / After the Fire; dir. Jacques Perconte, France 2010) – The filmmaker plays with various forms of compression and image manipulation in order to create a vision of a place destroyed by fire, where the earth, trees, and sky melt into one another, fields of color distort the nature of the landscape, and the only fixed point is the train tracks disappearing in the distance. Poznámky z cest po Rusku 1989–1990 (Notes sur nos voyages en Russie 1989–1990 / Notes from travels in Russia 1989-1990; dir. Yervant Gianikian, Angela Ricci-Lucchi, Italy 2011) – A collection of writings from travelogues, paintings, and reminiscences. The filmmakers recorded the last living representatives of the interwar Soviet avant-garde in St. Petersburg during the disintegration of the Soviet Union in 1989-90, thus offering a concentrated look back at this period in history. Preludium 02 – 07 (Prelude 02 – 07; dir. Kourkouta Maria, France 2008-2010) – Photographs of New York help to create a model for urban movement. The film selects inconspicuous details whose multiplication breaks through space and, in rhythmic compositions, emphasizes motifs of industrial parks or transportation networks. ProstorČasPes (RaumZeitHund / SpaceTimeDog; dir. Nikolaus Eckhard, Austria 2010) – The filmmaker quotes Edward Muybridge’s famous Animal Locomotions in order to create a study of a running dog. The images, shot using extreme slow motion, are organized using various mathematical functions. Careful observation is gradually transformed into a montage that plays with the dog as with a marionette. Prší (Rayning; dir. Robert Todd, USA 2011) – The screen is filled with layers of contrasting exposures of sunny or chilly moods. Light amplifies calm as well as stormy conditions, emerging from the darkness and engaging in an intense dialog with the rain during a sudden downpour. Re-forma (Reform; dir. Guli Silberstein, Great Britain 2011) – A commentary on events leading to the transformation of a society or landscape (protests in London, demonstrations in Cairo, tsunami in Japan). Footage of these events is reshaped into a series of pixels that evoke the medium in which they are broadcast. Rodinný film (Home Movie; dir. John Price, Canada 2010) – A picture of family life spread out over four years of 35mm film. This literal home movie – made using film stock of varying ages and manually developed at home – primarily follows children as they explore their surroundings, learning about the states of matter and the dimensions and shape of the world in which they live. Růst (Groeien / Grow; dir. Joha Rijpma, Netherlands 2011) – A microstudy of growth and the formation of natural shapes and artificial cutouts. The close observation of unpredictable motion allows us to observe the creation of irregular shapes and the asymmetric stories of individual plants. Série portrétů – Jonas Mekas (Portrait serie – Jonas Mekas / Series of Portraits – Jonas Mekas; dir. Olivier Dekegel, Belgium/USA 2010) – A joyful miniature portrait of this legendary director. Holding a glass of beer, Mekas offers his views on Buddha’s relationship to food and women, and on enjoying life to the fullest. Stochastika (Stochastics; dir. David Kidman, France 2010) – The filmmaker creates an illusion of human motion and human steps by combining photographs from places that sometimes host military processions but that for the rest of the year are frequented by tourists. Studená hlína, pustina (Cold Clay, Emptiness; dir. SJ Ramir, France 2010) – A lonely figure marches through a fluid landscape whose edges fade out towards the film’s horizon. A vision of an inhospitable place and expansive emptiness, in which man leaves solid ground behind, heading out into the unknown. Šibuja – Tokio (Shibuya – Tokyo; dir. Tomonari Nishikawa, Japan 2010) – A collage of one day at the crowded stations on Tokyo’s busiest railway line, which is used by three and a half million travelers every day. míšyls sáv ěntapš (Relrap erdnetne suov ed edalam dner em aç / uoy raeh ot dnats t’nac I; dir. Yves Maria Mahe, France 2010) – An analytical editing of images in order to take a look at conflict between fictional characters. By repeating their facial expressions and body language, the film releases the scene from the storyline, creating a sense of physical unease in the viewer. The repetition of images of closing doors strengthens the scene’s sense of fatefulness. Tatituda (Tatitude; dir. Vivian Ostrovsky, France 2010) – An etude based on scenes from Jacques Tati’s Mr. Hulot’s Holiday. With a subtle sense of humor, this work engages in a clear summer dialog with the original film, observing sea gulls, bodies lying on the beach, bored and sporting vacationers, and swimmers in the calm sea. Tokio – Ebisu (Tokyo – Ebitsu; dir. Tomonari Nishikawa, Japan 2010) – Stories from the stations on the Yamanote Line. Images depicting events at various times during the day flow into one another. Unášení (Drift; dir. Christina von Greve, Germany 2010) – The film layers and interweaves images of touching and closeness, revealing possibilities of harmony in the form of movements and gestures amplifying the tactile experience of slow-motion footage, creating a choreography of hands and bodies in motion. Všude, kde nikdy nebyla (Wherever Was Never There; dir. Vivian Ostrovsky, France 2011) – Using artifacts from and footage of places and situations, the film shows the everyday nature of traveling between large cities and the experience of constant travel. Objects stand for stories from the road; family memories about traveling between countries and cultures remind us of the movement of personal histories. V zimní zahradě (In the Conservatory; dir. Caryn Cline, USA 2010) – A detailed study of a snowy garden in the middle of the city brings to mind the tradition of films working with objects pasted directly onto the film. Za okrajem hlubokého prázdna (Beneath Your Skin of Deep Hollow; dir. Malena Szlam, Canada 2010) – Flashes of light in the dark night, from which objects emerge like fields of color flickering in a dark space. The film plays with the sensitivity of film and the blackness of the dark. Directory: press -> 2011 press -> Draft I film Screening press -> The milk carton kids press -> Embargoed until 15 december 2005 15H00 gmt press -> Press Release world meteorological organization press -> Introductory Text press -> The project is part of the wider cooperation between Eni and Rosneft sanctioned under the Strategic Cooperation Agreement entered into by the parties on 25th April 2012 press -> El Niño’s Effects May Be Limited This Winter press -> I am particularly pleased that my last year at Kunsthaus Bregenz was so successful. There are very few institutions in which the architecture, the staff, and the art encounter each other so productively Download 167.4 Kb. Share with your friends:
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