As a dedicated follower and supporter of the Ji.hlava International Documentary Film Festival for many years now, I can confidently say that this event is truly a gem in the documentary world. The festival’s commitment to showcasing the most profound works from Czech and Eastern Europe, as well as its dedication to underappreciated auteurs and indie collaborations, is nothing short of inspiring.
The Ji.hlava International Documentary Film Festival is currently thriving, showcasing groundbreaking documentaries from Czech and Eastern Europe, honoring unsung filmmakers, and providing a stage for independent collaborations.
In its enlarged 28th version, the 10-day celebration taking place in the historical Czech town of Jihlava aims, as always, to stir things up, according to its founder and festival leader, Marek Hovorka.
The opening movie at the festival, titled “Ms. President” by Marek Sulik, portrays the struggles of Slovakia’s first female president, Zuzana Caputova. According to Hovorka, it serves as an appropriate choice for a flagship project.
As a movie enthusiast, I’m consistently passionate about nurturing Czech and Slovak culture on the silver screen. I believe these productions offer a profound insight into the societal intricacies of both the Czech Republic and Slovakia.
As I delve into the cinematic landscape of Eastern Europe, it’s evident to me that the mood and trajectory have noticeably changed in Slovakia – a country bordering Ukraine. With its administration increasingly vocal about their pro-Putin stance, it adds another layer of intrigue to the unfolding narrative.
In its third year, Russia’s conflict with Ukraine continues to cast a long shadow over regional documentaries, as stated by Hovorka. This has led to the possibility that exceptional documentaries in this genre may be going unnoticed, as global focus remains primarily on the frontlines of the struggle.
One insight that penetrates beyond the headlines, Hovorka notes, is the new doc by Filip Remunda, “Happiness to All,” which grew out of eight years spent with an out-of-luck but in many ways typical Russian living in Siberia. Remunda, half of the team along with Vit Klusak who carried Czech docs through to international audiences 20 years ago with the consumer capitalism sendup “Czech Dream,” is being feted this year at Ji.hlava.
Throughout their illustrious career, Klusak and Remunda have consistently employed an ironic approach, shifting their focus from war games to examining COVID-19 culture. Hovorka remarks that this distinctive Czech penchant for irreverence was one factor that caught the eye of Michael Moore, an early supporter of their work.
In the story titled “Happiness,” Remunda discovers that an impoverished Russian bricklayer, barely making ends meet, can still be a fervent supporter of Putin – and perhaps their mindset could shed light on why many Russians continue to ardently support this stern leader.
Ji.hlava, similar to numerous festivals, continues to abstain from screening movies produced in Russia, primarily due to the fact that many of them receive funding from the state. However, it’s possible to adhere to an ethical standard while still exploring the complexities of Russian lives and minds.
According to Hovorka, he finds the movie remarkably compelling as it presents a perspective from Russia, which we rarely get to see or listen to.
The festival’s expansion has been noteworthy since its inception. This year, Ji.hlava, which received an impressive 3,500 film submissions, declared last year that it would expand its duration. The aim was to provide participants with easier access to events and to increase the number of screenings.
340 films were screened this year, according to Hovorka, who noted that “the level of competition was intense, but it’s wonderful to observe such a strong interest among filmmakers in our platform and the documentary genre.
Ji.hlava’s ongoing goal to aid up-and-coming filmmakers by providing both resources and an audience is just as significant today, Hovorka emphasizes, and this year’s highlights can be found at its New Visions Forum, a crucial component of the Industry Days, taking place October 29 – November 1. This typically bustling event, occurring concurrently with a market within the modern Industry Hub area, features an impressive variety of projects presented across different stages of development, production, and post-production.
This year, projects from East and Southeast Asia have been incorporated, a progression that Hovorka considers a logical one due to the similar struggles and predicaments faced by documentarians in this region compared to those in the United States and Europe.
According to Hovorka, there’s a common ground between documentary directors and producers regarding the challenges they face and the hardships they endure, as their work experiences are remarkably similar.
Apart from featuring 18 budding producers annually at Ji.hlava, Hovorka is particularly thrilled about the festival’s discussion on ethics in documentary creation and production happening October 30-31. This conference will bring together industry veterans who will tackle topics ranging from social responsibility to who gets to decide what subjects documentarians can shoot.
He wonders who holds the keys to access certain subjects and what topics can be readily discussed versus those that might be challenging due to budget constraints, censorship, or personal restraint.
In terms of screenings, Ji.hlava’s Testimonies section focuses on issues of global concern each year, this time taking on the themes of the natural world and climate crises – Yasha Levine and Rowan Wernham’s New Zealand/U.S. doc “Pistachio Wars,” with its look at profitable but water-demanding nut agriculture in drought-plagued California has characteristic insight, Hovorka says.
In contrast, the New Visions segment focuses on unearthing new talent, Czech Joy showcases top-tier local productions, and Fascinations offers a platform for daring and innovative experiments.
Petra Hanakova has gathered an intriguing assortment of historical documents from the era when Slovakia was established as a fascist state under Nazi rule, and she’s wondering how this specific collection will resonate with viewers: Our Film! is what we have put together.
Hovorka was quite taken aback,” he stated, “to discover that the majority of these movies seem devoid of any political perspective.
Ji.hlava also takes pride in presenting the works of Tsai Ming-Liang, whose innovative time-based techniques in Taiwanese cinema have shattered traditional norms, as stated by Hovorka.
He’s equally thrilled to watch the movies of Anne-Marie Mieville, whose career was often eclipsed by her collaborator Jean-Luc Godard.
He expresses his joy in providing room for her,” he notes. “He’s pleased with the evolution of circumstances, allowing for a balanced conversation between two powerful individuals.
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2024-10-27 19:17