FOREWORD 3
19TH JIHLAVA IDFF PROGRAMME SPECIALS 4
Terrorism 4
Al Akhbar 4
Surrealism 5
Film and Philosophy 6
COMPETITION SECTIONS 7
Opus Bonum 7
Between the Seas 10
Czech Joy 13
Fascinations 16
Exprmntl.cz 20
Short Joy 23
First Lights 26
NON-COMPETITION SECTIONS 27
Special Event 27
Special Event: Czech Landscape 29
Fascinations: Eternity 29
Into the History: Czech Funeral 30
Retrospectives 31
Doc-fi 33
Reality TV 33
34
Czech Television Documentaries 34
Workshops 34
FAMU Presents 35
Doc Alliance selection 35
Swiss Connection 36
World Day for Audiovisual Heritage 36
MASTERCLASSES 37
JURORS 39
Juror of Opus Bonum Section 39
Jurors of Czech Joy Section 39
Jurors of Between the Seas Section 40
Fascinations and Exprmntl.cz Sections 41
Short Joy Section 42
Czecho-Slovak Surrealist Group 42
A group of artists involved in developing, revising, and updating the principles of imaginative art and the imaginative-critical interpretation of the world as first named and elaborated by prewar Surrealism in Prague and Paris and reinterpreted and enriched by later artists over the subsequent years. The group preserves and reshapes the continuity of these creative endeavors in the areas of individual visual, written, cinematic or dramatic work and theory. Their defining mark is the collective confrontation of various levels of anti-aesthetic and extra-artistic forms of expression (games, experimentation, intersubjective communication and more). 42
First Lights Section 42
FESTIVAL GUESTS 44
JIHLAVA IDFF AWARDS 46
DOC ALLIANCE AND DAFILMS.CZ 47
INDUSTRY PROGRAMME FOR FILM PROFESSIONALS 48
Inspiration Forum 48
Emerging Producers 2016 49
Conference Fascinations 50
Festival Identity 51
DOC.STREAM 51
East Silver Market 52
Ex Oriente Film 52
Media and Documentary 53
ACCOMPANYING PROGRAMME 53
Laboratorium 53
Radio Documentaries 53
INFORMATION FOR FESTIVAL GUESTS AND PRESS 54
SPONSORS & PARTNERS 55
Eternity – neon lights hovering over this year’s festival edition. Our intention is to take a look at the present from a distance. In the past months, the crises we go through have started to emerge with the periodicity of sales following each fashion season. Having left an open landscape, we entered a dense forest where danger is less predictable.
The idea to introduce the special section addressing the issue of Terrorism – and deliberately referencing the European context – occurred to us after the tragic events at Charlie Hebdo’s headquarters in Paris in January. It was striking how light-heartedly European media tended to ignore our own European past when analysing these terrorist acts.
The urgency and distress caused by violence on the European continent was then followed by shocking killings staged by the combatants of the Islamic State. From afar, we could hear the fading echoes of the cheerful Arab spring that suddenly turned into Arab winter. And crowds of refugees leaving their homes fearing for their children’s and their own lives raised the European discussion to an entirely new level.
This year’s second special section called Al Akhbar takes a closer look at the life of Syrian people during the civil war, the absurd situation of emigrants who have decided to find a safe haven at the expense of their own happiness, and an authentic pilgrimage to Mecca.
The Czech play on the words “eternity” (věčnost) and “factuality” (věcnost) has accentuated two notable aspects of documentary filmmaking: an accurate analytical description of the present, on the one hand, and an abstract, metaphorical and philosophically nuanced creative gesture on the other. Therefore, the non-competition sections will this year be dominated by surrealist cinema, accompanied with a unique retrospective of Eugene Deslaw and a tribute to Artavazd Peleshyan, a director revered even by one of the greats of European cinema, Jean-Luc Godard. And it was Godard who succinctly expressed the feelings of a filmmaker living in the 21st century: “I need a day to tell the history of one second, I need a year to tell the history of one minute, I need a lifetime to tell the history of one hour, I need an eternity to tell the history of one day.”
Please accept our invitation to this year’s Jihlava IDFF. May the two hundred-plus films, carefully selected over the course of the previous year, reveal at least a glimpse of the seconds that transform our days.
We appreciate your trust.
My thanks go to all of those who have helped make the 19th Jihlava IDFF possible,
Marek Hovorka
Festival Director
Terrorism
One of this year’s special thematic sections is dedicated to films accentuating the fact that terrorism has not emerged in Europe as an unknown and recent threat but that it has its roots in the mid-20th century, manifesting itself in various forms in countries such as Italy, Germany, Northern Ireland and England.
“We came up with the idea of the Terrorism section after January’s tragic events at Charlie Hebdo’s headquarters in Paris in January – deliberately referencing the European context. It was striking how light-heartedly European media tended to overlook their own European past when analysing these terrorist acts,“ added Marek Hovorka, Director of Jihlava IDFF. „
Curator of the section: Nicole Brenez.
12. Dicembre (Giovann Bonfanti, Italy 1972, 43 min)
Addio Lugano Bella (Francesca Solari, Switzerland, Germany, 2000, 70 min)
On vous parle du Brésil: Carlos Marighela (Chris Marker, France, 1970, 17 min)
A German Youth (Jean-Gabriel Périot, Francee, Switzerland, Germany 2015, 93 min)
Ils étaient les Brigades rouges. 1968-1979 (Mosco Levi Boucault, France, 2011, 126 min)
Rio Chiquito (Jean-Pierre Sergent, Columbia 1965, 20 min)
The Sons of Ichkeria (Florent Marcie, France, 2006, 145 min)
La Prisonnière du Pont aux Dions (Gaël Lepingle, France, 2005, 27 min)
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