Czech Joy in the Spotlight at IDFF Jihlava

25 October 2018

Film Industry

Czech Joy in the Spotlight at IDFF Jihlava

Film Industry

Czech Joy in the Spotlight at IDFF Jihlava

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For the third time Czech Film Center and Jihlava International Documentary Film Festival (October 25-30, 2018) organize a presentation and short previews of brand new Czech documentaries for the film profesionals attending the festival. Ten films selected from the festival competitions will be introduced by their authors.

This year’s presentation takes place at the Lighthouse, October 27, from 4:30 till 6:00 pm.

Presented projects

Vratislav Effenberger or Black Shark Hunting
Director: David Jařab 
Producer: Viktor Schwarcz (Cineart TV Prague), Petr Kubica (Czech Television)
Runtime: 84'
Contact: CINEART TV PRAGUE / Viktor Schwarcz / +420 777 220 364 / 261711044@iol.cz

In the spirit of this master of poetics, David Jařab approaches his portrait of leading Czech postwar surrealist Vratislav Effenberger as a game. He invited members of the local surrealist group to talk about Effenberger in places where he stages absurd encounters and interrelationships. The main theme is Effenberger’s unrealized (unrealizable) screenplays, which the filmmakers attempt to enact during the film. This surrealistic hunt for Effenberger’s imagination is capped by an interview with his son full of ambivalent personal memories.

Feral
Director: Jiří Holba 
Producer: Jiří  Holba
Runtime: 72'
Contact: JIŘÍ HOLBA / Štítná 136 / 763 33 / Štítná nad Vláří / Czech Republic/
+420 725 430 340 / enaqua82@gmail.com

Charlie Soukup is a Czech underground songwriter and Charter 77 signatory. He emigrated in the early 1980s, and has spent the last several decades living on his own in the Australian outback as a hermit and Buddhist. Documentary filmmaker Jiří Holba sought Soukup out on his large property in the bush, where he builds secret shelters and lives away from civilization. The film, which Holba shot entirely alone on location, presents spontaneous conversations and situations that fully capture Soukup’s distinctive charisma. The film’s series of monologues are a kind of stream of thoughts that are part mad rambling and part insightful observations on life.

Vote for Kibera
Director: Martin Páv 
Producer: Zuzana Kučerová (Frame Films)
Runtime: 86'
Contact: FRAME FILMS / Zuzana Kučerová / Nad Bílými vršky 959 / 272 01 /
Kladno – Rozdělov / Czech Republic / +420 776 600 278 / zuzana@framefilms.cz

Photographer Don, a resident of Kibera, a giant slum in Nairobi, says that in his photographs he tries to capture the positive side of his home – not suffering, misery, and resignation, but hope, determination, and creativity. And Martin Páv’s documentary has taken a similar approach. Working with the unique photogenic qualities of the slum, the film is structured as a series of interviews with local residents. Besides Don, we also meet local artists, a teacher, and a boxing coach. Nevertheless, in the film’s final part about the presidential elections in Kenya, the frustrations, hopelessness, and violence in Kibera bubble to the surface.

We Can Do Better
Director: Robin Kvapil, Radim Procházka 
Producer: Radim Procházka, Robin Kvapil
Runtime: 74'
Contact: PRODUKCE RADIM PROCHÁZKA / Radim Procházka / Klimentská 4 / 110 00 / Prague / Czech Republic / +420 234 244 307 / radim@radimprochazka.com / www.radimprochazka.com

As the personal advisor to presidential candidate Michal Horáček, documentary filmmaker Robin Kvapil recorded from behind the scenes of the campaign from autumn. He filmed using anything he could get his hands on camera, mobile phone, notebook computer. The film, co-directed by Radim Procházka, was an attempt to capture an authentic portrait of Horáček’s election campaign, presenting his team’s tactics, interactions with both sup-porters and opponents, with journalists, and with opposing candidates. With an awareness that they had most likely lost the election, but that there was still a long path ahead of them, Kvapil presented a reflection of their team-work, commenting on their individual steps.

Illusion
Director: Kateřina Turečková 
Producer: Markéta Janečková (FAMU)
Runtime: 60'
Contact: FAMU STUDIO / Alexandra Hroncová / Klimentská 4 / 110 00 / Prague/
Czech Republic / +420 234 244 307 / alexandra.hroncova@famu.cz / www.famu.cz

In her original concept of a film as a computer game, the author presents her personal report from Budapest where she spent a year as a student. The viewers take part in a game, going through several levels that put them into everyday situations related to the issues of the contemporary Hungarian society: they see the capital with the eyes of tourists, but they are mostly forced to use the subjective perspective of the Hungarians to think about the freedom of art, the right to education, medical care, and the questionable Hungarian political situation in general where the name of the Hungarian Prime Minister, Viktor Orban, is often heard again and again.

Solos for Members of Parliament
Director: Tereza Bernátková 
Producer: Tomáš Šimon (FAMU)
Runtime: 34'
Contact: FAMU STUDIO / Alexandra Hroncová / Klimentská 4 / 110 00 / Prague /
Czech Republic / +420 234 244 307 / alexandra.hroncova@famu.cz / www.famu.cz

Twenty-one politicians reply to the question of how they view the Czech Republic’s future. The survey, built on the democratic principles of equality and freedom of speech, provides the same conditions for all of the interviewees and presents their uncensored and complete responses. However, this raw materials provides more testimony regarding the present than the future, as it unmasks the faces MPs and senators present to the public and demonstrates the rhetorical means they use to expand political power. Freedom is a double-edged sword depending on whose hands hold it. The same applies to media as a tool used for disseminating propaganda as well as for undermining it.

Attention Economy: 39 Minutes After the Presidential Election
Director: Petr Salaba 
Producer: Petr Salaba (FAMU)
Runtime: 8'
Contact: FAMU STUDIO / Alexandra Hroncová / Klimentská 4 / 110 00 / Prague /
Czech Republic / +420 234 244 307 / alexandra.hroncova@famu.cz / www.famu.cz

Petr Salaba’s film is a mosaic of videos that use different perspectives to record the actors and witnesses of the incident widely discussed in the media and related to re-electing Miloš Zeman the President of the Czech Republic at the end of January 2018. The film image, divid-ed into several frames with parallel events, a voyeuristic view of the exacerbated situation that occurred shortly after Zeman’s press conference at the congress Top Hotel in Prague. The journalists and film documentarists present at the press conference got into conflict with Zeman’s aggressive supporters after a man collapsed in the lounge.

Central Bus Station
Director: Tomáš Elšík 
Producer: Jitka Kotrlová (Frame Films), Ondřej Šejnoha (FAMU), Petr Novák (Bystrouška Audio), Michal Mocňák (R.U.R.)
Runtime: 75'
Contact: FRAME FILMS / Jitka Kotrlová / Nad Bílými vršky 959 / 272 01 / Kladno /
Czech Republic / +420 774 131 613 / jitka@framefilms.cz

Only recently, Tel Aviv’s Central Bus Station was still the largest in the world. But this over-sized space only serves more than its original purpose to bring in masses of people who, confused by its complicated interior design, succumb to shopping fever. Over time this concrete monster, which won’t be easy to tear down, has become a temporary refuge for people on the margins of society – refugees, criminals, prostitutes. Like its main protagonist, the tourist guide Yonatan, the film’s director is fascinated by one of the wonders of the world of redundancy and the microcosm of the people who live here.

Good Mr. Benda
Director: Pavel Jurda 
Producer: Jiří Konečný (Endorfilm)
Runtime: 76'
Contact: ENDORFILM / Jiří Konečný / Přímětická 4 / 140 00 / Prague / Czech Republic /
+420 602 358 373 / jiri@endorfilm.cz / www.endorfilm.cz

A sensitive portrait of grandfather Miroslav Benda, a tried and true Sokol member and
an ordinary man with extraordinary vigor and ideals, revealing a story of human residence and optimism through nostalgia and situational comedy. The film is a kind of observational documentary – it includes family videos and archival film material. We’re drawn into the microcosm of the village of Křenovice u Slavkova by two Japanese women who have decided to visit Benda, thanks to his long friendship with a university professor from Tokyo. Together with Benda, the audience travels to the only Japanese gas station in Europe, to Prague’s Strahov Stadium, and to New York to visit American Sokol members.
 

Passengers
Director: Jana Boršková 
Producer: Jarmila Poláková, Taťána Marková (Film & Sociologie)
Runtime: 78'
Contact: FILM & SOCIOLOGIE s.r.o. / Taťána Marková / Pod Zvonařkou 10 / 120 00 / Prague / Czech Republic / +420 774 440 393 / fastana@seznam.cz

The film’s director sees her four protagonists as passengers along for the ride, with no control over their own lives. She started to follow them just before they left the children’s home where they grew up, and spent the next six years following their lives. The return to a non-functioning family environment often also means the return to established patterns, lack of a future, and unstable social relations. The film is an indirect indictment of the country’s institutionalized care system, which manages to look after children as minors but fails to properly prepare them for the transition into adulthood.
 

Talks with TGM
Director: Jakub Červenka 
Producer: Jakub Červenka, Petr Kratochvíl (Bedna Films )
Runtime: 80'
Contact: BEDNA FILMS / Denisa Štrbová / Hradčanské nám. 11 / 118 00 / Prague /
Czech Republic / +420 774 060 336 / denisastrbova@gmail.com / www.bednafilms.cz

Another contribution to the specific subgenre of animated history by the scriptwriter Pavel Kosatík. On 26 September 1928 , Karel Čapek and President Masaryk meet in the gardens of Topolčianky castle to decide about the fate of their joint literary work. Their fiction film dia-logue is based on quotes from a future book and their mutual correspondence, considerably freeing the original format of literary conversation from binding conventions. Čapek and Masaryk reproach and offend each other, but they also ask key personal questions and questions about the social functions of a writer and politician respectively.

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