DOCSLIB.ORG

International Experimental Film Festival - Bucharest 2010

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
International Experimental Film Festival - Bucharest 2010 INTERNATIONAL EXPERIMENTAL FILM FESTIVAL - BUCHAREST 2010 FESTIVALUL INTERNAŢIONAL DE FILM EXPERIMENTAL - BUCUREŞTI 2010 INTERNATIONAL EXPERIMENTAL FILM FESTIVAL. 6 FESTIVALUL INTERNAŢIONAL DE FILM EXPERIMENTAL CONCEPT CONCEPT FESTIVAL TEAM 12 ECHIPA FESTIVALULUI COMPETITION JURY 16 JURIU COMPETIŢIE OPENING / CLOSING GALA 21 GALA DE DESCHIDERE / ÎNCHIDERE INTERNATIONAL COMPETITION 31 COMPETIŢIE INTERNAŢIONALĂ EXPERIMENTAL EYE: 153 EXPERIMENTAL EYE: UNIQUE VISIONS IN EUROPEAN CINEMA VIZIUNI EXPERIMENTALE ÎN CINEMA-UL EUROPEAN FOCUS: 161 FOCUS: EXPERIMENT IN SOUTH AMERICAN CINEMA EXPERIMENT ÎN CINEMA-UL SUD-AMERICAN PANORAMA: 173 PANORAMA: ROMANIAN EXPERIMENTAL SHORTS SCURT METRAJ EXPERIMENTAL ROMÂNESC SIDE EVENTS 183 EVENIMENTE CONEXE ISBN: 978-973-1805-80-1 INTERNATIONAL EXPERIMENTAL FILM FESTIVAL BUCHAREST 2010 FESTIVALUL INTERNAŢIONAL DE FILM EXPERIMENTAL BUCUREŞTI 2010 SPECIAL ACKNOWLEDGMENTS MULŢUMIRI SPECIALE Radu Luca UNATC Athanor Sixpackfilm Mihai Scorţea UNARTE Submarine Films Reynolds Film Horia Romanescu York University Filmbank Netherlands Media Art Răzvan Nicolescu Andrzej Wajda Master Female Economy Institute Laurenţiu Brătan School of Film Directing Animate Projects Pantalla Partida Răzvan Sabie University of Art and Design LUX Adinda Arian - Female Paul Negoescu Helsinki (UIAH) EYE Film Institute Economy Maciej Nowicki - Watch Docs Sigrid Gairing - Filmakademie Netherlands Danny Lennon (Festival Sales Human Rights Film Festival Baden-Württemberg Le Fresnoy Agent) Jan Najewsky FAMU Groupe Intervention Vidéo Gabriel Abrantes Adrian Bucur The Danish Film Institute (GIV) Salome Jashi - Sakdoc Film Cristina Toader Swedish Film Institute 90 Minutes Film Studio Aantarik Films Regele Ionescu CloroFilm Envie de Tempête Production Mihai Grecu Submarine NIMK Graeme Cole Glob Com Media Mutual Respect Productions Floris Kaayk La Doble A New Europe Film Sales Ulu Braun REC Produtores Associados Les Films du Nord Tuturor voluntarilor noştri. / Mf Films Desperate Optimists To all our volunteers. INTERNATIONAL EXPERIMENTAL FILM FESTIVAL Recently, Romania has been characterized by a cinema culture vigorous growth, to name at least the high density of the artistic activity reflected on screen. Thus, a festival of experimental film does not come as a surprise; it is a complementary piece in the big picture of Romanian events that accompany a serious industry. The International Experimental Film Festival is at its first edition and, convinced we are of this, it will soon become one of the Romanian cultural trademarks. May it reach many editions, enjoyed by a growing number of high quality cinema lovers! Eugen Şerbănescu General Director of The National Centre of Cinema, Romania Romania a devenit în ultimii ani o putere cinematografică, cel puţin sub raportul densităţii actului artistic pe centimetrul pătrat de ecran. Nu este, deci, de mirare apariţia unui festival al filmului experimental, care întregeşte complementar tabloul manifestarilor ce însoţesc, de obicei, o industrie serioasă. Festivalul Internaţional al Filmului Experimental se află la prima ediţie şi, suntem convinşi, va deveni unul dintre reperele de marcă ale vieţii culturale din Romania. Îi dorim cât mai multe ediţii şi un public îndrăgostit de cinemaul de calitate. Eugen Şerbănescu Director General al Centrului Naţional al Cinematografiei, România ON THE EDGE circuit and rarely on cinema screen, as we believe the border area between cinema and video art is INTERNATIONAL an extremely rich, creatively nourishing one, from where unique artistic voices constantly emerged EXPERIMENTAL FILM over the years like Peter Greenaway, David Lynch, Derek Jarman, Andy Warhol, Stan Brakhage and FESTIVAL. CONCEPT others. EXPIFF presents on one side an INTERNATIONAL EXPERIMENTAL SHORT FILM COMPETITION, consisting of the most representative productions of the last years. For this edition, we are extremely honored to be joined in our curatorial work by experienced international experimental film programmers PETER VAN HOOF ( Head of Short Film Department of International Film Festival Rotterdam), MIGUEL VALVERDE ( co-director of Lisbon International Independent Film Festival Indielisboa) and DIETER WIECZOREK ( director of Signes de Nuit Film Festival Paris). Each of them brings in front of Romanian audience a CARTE BLANCHE selection - part of our International Short Created under the patronage of NATIONAL UNIVERSITY OF DRAMA Film Competition - comprised of the key titles from their last years programs. INTERNATIONAL FILM AND FILM BUCHAREST, NATIONAL ART UNIVERSITY BUCHAREST and FESTIVAL ROTTERDAM, LISBON INTERNATIONAL INDEPENDENT FILM FESTIVAL INDIELISBOA and ROMANIAN NATIONAL CINEMA CENTER, with strong educational SIGNES DE NUIT FILM FESTIVAL PARIS are three of the most prestigious international film events purpose, BUCHAREST INTERNATIONAL EXPERIMENTAL FILM FESTIVAL in the area of experimental cinema, recognized worldwide for their consistent creative support of EXPIFF is the first and only showcase of experimental film in Romania, innovative radical filmmaking and visual art. aimed at bringing in front of the audience highly innovative films, both in content and style, filmmakers with strong personal views on On the other side, EXPIFF presents a number of ARTIST PROFILES dedicated to highly innovative contemporary reality, which also daringly explore the boundaries of filmmakers with unique visions on contemporary reality, which also uncompromisingly explore the cinema language. limits of cinema language. A cinema of total creative freedom and lack of compromise. This year EXPIFF is honored to open with REMBRAND J’ACCUSE, the last feature of PETER GREENAWAY, in director’s presence. PETER GREENAWAY is one of the key voices of avant-guard We believe EXPIFF is a highly necessary event, particularly for contemporary cinema, one of the most ambitious and controversial experimental filmmakers of our times. Trained as a painter and heavily influenced by theories of structural linguistics, ethnography, CONCEPT Romania, whose cinema already proved its amazing strength in the last years, through outstanding voices like Cristi Puiu, Corneliu and philosophy, PETER GREENAWAY’s films traversed often unprecedented ground, consistently Porumboiu, Cristian Mungiu, Radu Jude, and others, yet mainly exploring the boundaries of the medium by rejecting formal narrative structures in favor of in the area of realistic narrative fiction. On this flourishing creative awe-striking imagery, shifting meanings, and mercurial emotional tension, fascinated by formal background, EXPIFF comes as a natural complementary reaction, its symmetries and parallels, earning equal notoriety for its provocative eroticism as well as its almost main goal being to broaden perception, to open a whole new artistic self-conscious pretentiousness. He has an impressive body of work, consisting of 12 feature films territory both for the general and specialized audience, particularly for and 50 short-films and documentaries regularly nominated for the Film Festival Competitions of the film and visual art students. Cannes, Venice and Berlin, exhibitions, visual installations, VJ performances, paintings, books, 6 opera librettos. Therefore we present films that are “lessons” of experimental cinema, emblematic pieces, eye-openers about the unlimited possibilities During the festival days, PETER GREENAWAY will also offer a MASTERCLASS for cinema offered by the cinematic medium, about ways to transcend any possible and visual art students as well as for the general public, which will take place at the National borders between fiction/documentary/visual art, about transgression University of Drama and Film Bucharest. of boundaries on every level, from concept, structure, rhythm to the very shot construction. Copel Moscu, Festival Director Rik Vermeulen, curator - International Selection We are also dedicated to offer increased visibility to cutting edge visual Adina Pintilie, curator - International Selection artists, whose work is mainly accessible in museums and art galleries INTERNATIONAL EXPERIMENTAL FILM FESTIVAL prezentate în muzee şi galerii de artă şi doar rareori în săli de cinema. O facem din convingerea că FESTIVALUL zona de graniţă dintre cinema şi artele vizuale e un teritoriu extrem de fertil din punct de vedere INTERNAŢIONAL DE FILM creativ, din care au provenit de-a lungul anilor voci artistice unice precum Peter Greenaway, David Lynch, Derek Jarman, Andy Warhol, Stan Brakhage şi alţii. EXPERIMENTAL. CONCEPT Programul EXPIFF cuprinde, pe de o parte, COMPETIŢIA INTERNAŢIONALĂ DE SCURTMETRAJ EXPERIMENTAL, o selecţie a celor mai reprezentative producţii din ultimii ani. Suntem extrem de onoraţi de a avea alături pentru această ediţie curatori de talie internaţională din zona filmului experimental: PETER VAN HOOF ( Director al Departamentului de Scurtmentraj al Festivalului Internaţional de Film Rotterdam), MIGUEL VALVERDE ( co-director al Indielisboa, Festivalului Internaţional de Film Independent Lisabona) şi DIETER WIECZOREK (director Signes de Nuit Film Festival Paris). Fiecare dintre ei prezintă publicului din România o selecţie CARTE BLANCHE – parte Creat sub patronajul Universităţii Naţionale de Artă Teatrală şi componentă a Competiţiei Internaţionale de Scurtmetraj – compusă din titluri-cheie ale programelor Cinematografică Bucureşti, al Universităţii Naţionale de Arte şi al pe care le-au conceput în ultimii ani. Festivalul Internaţional de Film Rotterdam, Festivalul Centrului Naţional al Cinematografiei, Festivalul
Load more

Recommended publications
  • The Silence of Lorna
    Surviving Life (Přežit Svůj Život) a film by Jan Švankmajer Czech Republic / Slovakia 109 mins/ Certificate 15 DVD release date: June 11 2012 FOR ALL PRESS ENQUIRIES OR TO REQUEST IMAGES PLEASE CONTACT:- Sue Porter/Lizzie Frith – Porter Frith Ltd Tel: 020 7833 8444/ E-Mail: [email protected] FOR ALL OTHER ENQUIRIES PLEASE CONTACT:- Robert Beeson – New Wave Films 10 Margaret St London W1W 8RL Tel: 020 3178 7095/ E-Mail: [email protected] Further information on www.newwavefilms.co.uk new wave films Surviving Life Director Jan Švankmajer Script Jan Švankmajer Producer Jaromír Kallista Co‐Producers Juraj Galvánek, Petr Komrzý, Vít Komrzý, Jaroslav Kučera Associate Producers Keith Griffiths and Simon Field Music Alexandr Glazunov and Jan Kalinov Cinematography Jan Růžička and Juraj Galvánek Editor Marie Zemanová Sound Ivo Špalj Animation Martin Kublák, Eva Jakoubková, Jaroslav Mrázek Production Design Jan Švankmajer Costume Design Veronika Hrubá Production Athanor / C‐GA Film CZECH REPUBLIC/SLOVAKIA 2010 ‐ 109 MINUTES ‐ In Czech with English subtitles CAST Eugene , Milan Václav Helšus Eugenia Klára Issová Milada Zuzana Kronerová Super‐ego Emília Došeková Dr. Holubová Daniela Bakerová Colleague Marcel Němec Antiquarian Jan Počepický Prostitute Jana Oľhová Janitor Pavel Nový Boss Karel Brožek Fikejz Miroslav Vrba SYNOPSIS Eugene (Václav Helšus) leads a double life ‐ one real, the other in his dreams. In real life he has a wife called Milada (Zuzana Kronerová); in his dreams he has a young girlfriend called Eugenia (Klára Issová). Sensing that these dreams have some deeper meaning, he goes to see a psychoanalyst, Dr. Holubova, who interprets them for him, with the help of some argumentative psychoanalytical griping from the animated heads of Freud and Jung.
    [Show full text]
  • Short Films Supports in Europe
    e Un programme de l’Union européenne SHORT FILMS SUPPORTS IN EUROPE Belgium Bulgaria Croatia Denmark Estonia Finland France Germany Greece Ireland Italy Lithuania Netherlands Norway Poland Portugal Romania Spain Switzerland Published in 2013 MEDIA Desk France - 9 rue Ambroise Thomas - F-75009 Paris +33 1 47 27 12 77 - [email protected] - www.mediafrance.eu SHORT FILMS SUPPORTS IN… belgium Funding opportunities Centre du Cinéma or 50000 € for animated films. et de l’Audiovisuel (CCA) Foreign projects can be eligible if all the admissibility conditions are met. The maximum amount for those projects is 15000 €. Admissibility: independent pro- CSF (Film Selection Commis- duction company, registered in sion) – Short-length Films pro- Belgium. the whole support has duction and postproduction to be spent in Belgium. The di- GENERAL OVERVIEW support - made up of profes- rector has to be Belgian or Eu- Population: 10,9 million sionals, must issue an advice on ropean citizen (or resident in Languages: French, Dutch each admissible file submitted Belgium for 5 years). The direc- and German by the candidates. This advice tor’s nationality and country of Currency: Euro is then transmitted to the com- residence play a part in the dis- Number of theatres and petent Minister, who decides tinction between a national or a screens: 491 screens on granting or not the subsi- foreign project. (144 digital screens) / dies. For short-length films, the For foreign projects: All the 103 theatres committee meets 3 times a year. admissibility conditions above The members are spread over 2 must have been met. 30% of the Average admission colleges to examine the projects: financing has to be confirmed.
    [Show full text]
  • André Breton Och Surrealismens Grundprinciper (1977)
    Franklin Rosemont André Breton och surrealismens grundprinciper (1977) Översättning Bruno Jacobs (1985) Innehåll Översättarens förord................................................................................................................... 1 Inledande anmärkning................................................................................................................ 2 1.................................................................................................................................................. 3 2.................................................................................................................................................. 8 3................................................................................................................................................ 12 4................................................................................................................................................ 15 5................................................................................................................................................ 21 6................................................................................................................................................ 26 7................................................................................................................................................ 30 8...............................................................................................................................................
    [Show full text]
  • Dvigubski Full Dissertation
    The Figured Author: Authorial Cameos in Post-Romantic Russian Literature Anna Dvigubski Submitted in partial fulfillment of the requirements for the degree of Doctor of Philosophy in the Graduate School of Arts and Sciences COLUMBIA UNIVERSITY 2012 © 2012 Anna Dvigubski All rights reserved ABSTRACT The Figured Author: Authorial Cameos in Post-Romantic Russian Literature Anna Dvigubski This dissertation examines representations of authorship in Russian literature from a number of perspectives, including the specific Russian cultural context as well as the broader discourses of romanticism, autobiography, and narrative theory. My main focus is a narrative device I call “the figured author,” that is, a background character in whom the reader may recognize the author of the work. I analyze the significance of the figured author in the works of several Russian nineteenth- and twentieth- century authors in an attempt to understand the influence of culture and literary tradition on the way Russian writers view and portray authorship and the self. The four chapters of my dissertation analyze the significance of the figured author in the following works: 1) Pushkin's Eugene Onegin and Gogol's Dead Souls; 2) Chekhov's “Ariadna”; 3) Bulgakov's “Morphine”; 4) Nabokov's The Gift. In the Conclusion, I offer brief readings of Kharms’s “The Old Woman” and “A Fairy Tale” and Zoshchenko’s Youth Restored. One feature in particular stands out when examining these works in the Russian context: from Pushkin to Nabokov and Kharms, the “I” of the figured author gradually recedes further into the margins of narrative, until this figure becomes a third-person presence, a “he.” Such a deflation of the authorial “I” can be seen as symptomatic of the heightened self-consciousness of Russian culture, and its literature in particular.
    [Show full text]
  • Download File
    Cultural Experimentation as Regulatory Mechanism in Response to Events of War and Revolution in Russia (1914-1940) Anita Tárnai Submitted in partial fulfillment of the requirements for the degree of Doctor of Philosophy in the Graduate School of Arts and Sciences COLUMBIA UNIVERSITY 2014 © 2014 Anita Tárnai All rights reserved ABSTRACT Cultural Experimentation as Regulatory Mechanism in Response to Events of War and Revolution in Russia (1914-1940) Anita Tárnai From 1914 to 1940 Russia lived through a series of traumatic events: World War I, the Bolshevik revolution, the Civil War, famine, and the Bolshevik and subsequently Stalinist terror. These events precipitated and facilitated a complete breakdown of the status quo associated with the tsarist regime and led to the emergence and eventual pervasive presence of a culture of violence propagated by the Bolshevik regime. This dissertation explores how the ongoing exposure to trauma impaired ordinary perception and everyday language use, which, in turn, informed literary language use in the writings of Viktor Shklovsky, the prominent Formalist theoretician, and of the avant-garde writer, Daniil Kharms. While trauma studies usually focus on the reconstructive and redeeming features of trauma narratives, I invite readers to explore the structural features of literary language and how these features parallel mechanisms of cognitive processing, established by medical research, that take place in the mind affected by traumatic encounters. Central to my analysis are Shklovsky’s memoir A Sentimental Journey and his early articles on the theory of prose “Art as Device” and “The Relationship between Devices of Plot Construction and General Devices of Style” and Daniil Karms’s theoretical writings on the concepts of “nothingness,” “circle,” and “zero,” and his prose work written in the 1930s.
    [Show full text]
  • Copyright by Deborah Helen Garfinkle 2003
    Copyright by Deborah Helen Garfinkle 2003 The Dissertation Committee for Deborah Helen Garfinkle Certifies that this is the approved version of the following dissertation: Bridging East and West: Czech Surrealism’s Interwar Experiment Committee: _____________________________________ Hana Pichova, Supervisor _____________________________________ Seth Wolitz _____________________________________ Keith Livers _____________________________________ Christopher Long _____________________________________ Richard Shiff _____________________________________ Maria Banerjee Bridging East and West: Czech Surrealism’s Interwar Experiment by Deborah Helen Garfinkle, B.A., M.A. Dissertation Presented to the Faculty of the Graduate School of the University of Texas at Austin in Partial Fulfillment of the Requirements for the Degree of Doctor of Philosophy The University of Texas at Austin May 2003 For my parents whose dialectical union made this work possible ACKNOWLEDGEMENTS I would like to express heartfelt thanks to my advisor Hana Pichova from the University of Texas at Austin for her invaluable advice and support during the course of my writing process. I am also indebted to Jiří Brabec from Charles University in Prague whose vast knowledge of Czech Surrealism and extensive personal library provided me with the framework for this study and the materials to accomplish the task. I would also like to thank my generous benefactors: The Texas Chair in Czech Studies at the University of Texas at Austin, The Graduate School of the University of Texas at Austin, The Fulbright Commission and the American Council of Learned Societies without whom I would not have had the financial wherewithal to see this project to its conclusion. And, finally, I am indebted most of all to Maria Němcová Banerjee of Smith College whose intelligence, insight, generosity as a reader and unflagging faith in my ability made my effort much more than an exercise in scholarship; Maria, working with you was a true joy.
    [Show full text]
  • Destination Croatia
    © Lonely Planet Publications 16 Destination Croatia Sitting on a see-saw between the Balkans and Central Europe, Croatia has been suffering from something of a love-hate-love affair with the EU and its neighbours. Invited to join the UN Security Council in January 2008, its NATO membership was poised for 2009, but its dispute with the EU over its fishing laws saw displeased finger-wagging from the European officials and the already slightly elusive EU joining date (is it 2010? 2011? Perhaps 2012?) caught on yet another hurdle. March 2008 saw the beginning of the trial of Ante Gotovina, Croatia’s wartime general whose arrest was the main prerequisite for the beginning of Croatia’s talks for joining the EU back in 2005. Gotovina stands accused of ‘joint criminal enterprise’ for the expulsion of Serbs from Krajina in 1995. Revered and still seen as a hero by many in his native Zadar region, Gotovina’s trial is sure to bring home some controversial elements of Croatia’s Homeland War. Still in progress at the time of writing were the judicial reforms, the FAST FACTS struggle against corruption and the improvement of conditions for the Population: 4.5 million setting up of private businesses in the country, all of which have to be ful- Area: 56,538 sq km filled before Croatia can get its foot in the door of the desirable European club. Life for the average Croat remains on the tough side, however – the Head of state: President average salary of 6000KN per month is often too low to support a fam- Stjepan Mesić ily – and there is a declining but still substantial rate of unemployment GDP growth rate: 5% (11.18%).
    [Show full text]
  • Inhalt Content
    Hauptförderung Förderung Supporters INHALT CONTENT 3 GRUSSWORT DES SENATORS FÜR KULTUR UND MEDIEN / WELCOME NOTE BY THE MINISTER OF CULTURE AND MEDIA 6 VORWORT DER FESTIVALLEITUNG / FESTIVAL DIRECTOR’S PREFACE 1 5 TRAILER Institutionelle Partnerschaften 1 7 WETTBEWERBE / COMPETITIONS 21 Jurys / Juries 27 Preise / Awards 29 Internationaler Wettbewerb / International Competition 47 Deutscher Wettbewerb / German Competition 59 Dreifacher Axel / Triple Axel 67 Mo&Friese Kinder Kurzfilm Festival / Create Converge Children’s Short Film Festival 85 LABOR DER GEGENWART / LABORATORY OF THE PRESENT 87 LAB 1 Gestimmtheiten – Das Kino und die Gesten Attunements – Cinema and Gestures 1 09 LAB 2 Afrotopia – In the Present Sense 1 24 LAB 3 Hamburger Positionen / Hamburg Positions 1 33 ARCHIV DER GEGENWART / ARCHIVE OF THE PRESENT 1 35 ARCHIV 1 CFMDC 1 42 ARCHIV 2 Vtape 1 51 OPEN SPACE Mo&Friese wird unterstützt von 1 59 WILD CARD 1 63 DISTRIBUTING 1 75 MORE HAPPENINGS 1 87 INDUSTRY EVENTS 1 97 ANIMATION DAY Medienpartnerschaften 209 KURZFILM AGENTUR HAMBURG 210 DANK / THANK YOU 212 REGISTER 222 BILDNACHWEISE / PICTURE CREDITS Mitgliedschaften 223 IMPRESSUM / IMPRINT 224 FESTIVALINFORMATION PROGRAMMPLAN / SCHEDULE U m s c h l a g / C o v e r 3 INTRO Grußwort des Kultur- senators der Freien und Hansestadt Hamburg: Carsten Brosda Was hält uns als Gesellschaft zusammen? Und um- gekehrt: Was trennt uns voneinander? Der große Theater- mann Max Reinhardt benannte schon 1928 ein vermeint- liches Paradoxon, indem er sagte: »Wir können heute über den Ozean fliegen, hören und sehen, aber der Weg zu uns selbst und zu unserem Nächsten ist sternenweit.« Das ist noch heute nicht ganz von der Hand zu wei- sen – und beschreibt eine ständige Herausforderung: Denn ohne gegenseitiges Vertrauen und gegenseitige Unter- stützung ist gesellschaftlicher Zusammenhalt nichts weiter als eine schöne Idee.
    [Show full text]
  • Film Appreciation Wednesdays 6-10Pm in the Carole L
    Mike Traina, professor Petaluma office #674, (707) 778-3687 Hours: Tues 3-5pm, Wed 2-5pm [email protected] Additional days by appointment Media 10: Film Appreciation Wednesdays 6-10pm in the Carole L. Ellis Auditorium Course Syllabus, Spring 2017 READ THIS DOCUMENT CAREFULLY! Welcome to the Spring Cinema Series… a unique opportunity to learn about cinema in an interdisciplinary, cinematheque-style environment open to the general public! Throughout the term we will invite a variety of special guests to enrich your understanding of the films in the series. The films will be preceded by formal introductions and followed by public discussions. You are welcome and encouraged to bring guests throughout the term! This is not a traditional class, therefore it is important for you to review the course assignments and due dates carefully to ensure that you fulfill all the requirements to earn the grade you desire. We want the Cinema Series to be both entertaining and enlightening for students and community alike. Welcome to our college film club! COURSE DESCRIPTION This course will introduce students to one of the most powerful cultural and social communications media of our time: cinema. The successful student will become more aware of the complexity of film art, more sensitive to its nuances, textures, and rhythms, and more perceptive in “reading” its multilayered blend of image, sound, and motion. The films, texts, and classroom materials will cover a broad range of domestic, independent, and international cinema, making students aware of the culture, politics, and social history of the periods in which the films were produced.
    [Show full text]
  • A Film by Bohdan Sláma
    ICE MOTHER A FILM BY BOHDAN SLÁMA 67-year old Hana is the good soul of her family. Every One day, while Hana is looking for Ivánek who sneaked week her sons come over with their wives and children for out, she finds a man, Broňa, floating at the riverside, unable to their family dinner. It is a family tradition not to be changed. move. She jumps in and helps him to get out of the icy water. Selfless, Hana takes care of the little Ivánek, who is not really Hana gets to know his elderly friends and suddenly she is cherishing his grandma’s help. She also supports her other included in a new social circle. Even little Ivánek is interested son with money everytime he asks for it – and he asks a lot. A in the funny quirky group of ice swimmers. warmhearted yet modest person, Hana continues to live alone in the old family house without changing a thing ever since Light-hearted Broňa, who lives in an old camper bus near her husband died a few years ago. She might need a helping the river, inspires Hana’s lust for life. They become lovers, hand but both her sons are too busy and too selfish to see it. but when she introduces him to her sons, the whole family is shocked. In a series of events and dark secrets, Hana has to stand up and start changing her life. Born in 1967 in Opava, Czech Republic, Bohdan Sláma studied film directing at Prague Film School FAMU.
    [Show full text]
  • Surrealism in and out of the Czechoslovak New Wave
    Introduction Surrealism In and Out of the Czechoslovak New Wave Figure I.1 A poet’s execution. A Case for the Young Hangman (Případ pro začínajícího kata, Pavel Juráček, 1969) ©Ateliéry Bonton Zlín, reproduced by courtesy of Bonton Film. 2 | Avant-Garde to New Wave The abrupt, rebellious flowering of cinematic accomplishment in the Czechoslovakia of the 1960s was described at the time as the ‘Czech film miracle’. If the term ‘miracle’ referred here to the very existence of that audacious new cinema, it could perhaps also be applied to much of its content: the miraculous and marvellous are integral to the revelations of Surrealism, a movement that claimed the attention of numerous 1960s filmmakers. As we shall see, Surrealism was by no means the only avant-garde tradition to make a significant impact on this cinema. But it did have the most pervasive influence. This is hardly surprising, as Surrealism has been the dominant mode of the Czech avant-garde during the twentieth century, even if at certain periods that avant-garde has not explicitly identified its work as Surrealist. Moreover, the very environment of the Czech capital of Prague has sometimes been considered one in which Surrealism was virtually predestined to take root. The official founder of the Surrealist movement, André Breton, lent his imprimatur to the founding of a Czech Surrealist group when he remarked on the sublimely conducive locality of the capital, which Breton describes as ‘one of those cities that electively pin down poetic thought’ and ‘the magic capital of old Europe’.1 Indeed, it would seem a given that Czech cinema should evince a strong Surrealist tendency, especially when we consider the Surrealists’ own long-standing passion for this most oneiric of art forms.
    [Show full text]
  • Hedgehog's Home Festivals Awards Screenings
    Hedgehog's Home / Jezeva kuca by Eva Cvijanovic 2017 / Canada, Croatia / 10' World premiere: 14/2/2017, Berlin International Film Festival Awards 1. Special Mention, Berlinale International Film Festival, Berlin, Germany (9/2-19/2/2017) 2. Best Film Award, KIKI International Film Festival for Kids, Zabok, Croatia (24/4-28/4/2017) 3. First prize in MIDI SENIOR category, VAFI International Children and Youth Animation Festival, Varazdin, Croatia (30/5-4/6/2017) 4. Audience Award, Animafest – World Festival of Animated Film, Zagreb, Croatia (5/6-10/6/2017) 5. Special Jury Award, Animafest – World Festival of Animated Film, Zagreb, Croatia (5/6- 10/6/2017) 6. Best Animation Award, Kratki na brzinu – Revue of Croatian Short Films, Sv. Ivan Zelina, Croatia (6/6-11/6/2017) 7. Audience Award, Mediterranean Film Festival Split, Split, Croatia (8/6-17/6/2017) 8. Special Mention, Mediterranean Film Festival Split, Split, Croatia (8/6-17/6/2017) 9. Young Audience Award, Annecy International Animation Festival, Annecy, France (12/6- 17/6/2017) 10. Oktavijan Award for the Best Animated Film, Days of Croatian Film, Zagreb, Croatia (16/6- 21/6/2017) 11. Best Music Award, Days of Croatian Film, Zagreb, Croatia (16/6-21/6/2017) 12. Audience Award, Days of Croatian Film, Zagreb, Croatia (16/6-21/6/2017) 13. Grand Prix in Short Animated Film Category, Supertoon International Animation Festival, Sibenik, Croatia (16/7-21/7/2017) 14. Grand Prix in Short Animated Film Category, Kinder Film Fest Kyoto, Kyoto, Japan (3/8-5/8/2017) 15. Special Mention, Guanajuato International Film Festival, Guanajuato, Mexico (21/7-30/7/2017) 16.
    [Show full text]