On Tuesday evening, several figures set out on their way from the Lighthouse erected on the Masaryk Square. The parade carried illuminated artefacts that dominate this year’s Jihlava IDFF’s visual concept. The theme of carrying our past on our backs has thus become tangible.
Film experimenter Bill Morrison making an appearance in Jihlava. In his masterclass held today, he will discuss his work with damaged film material. Two of his latest films – Spanish travelogue The Dockworker’s Dream and Little Orphan Annie with touches of the horror genre – will be shown as part of his retrospective and personally introduced by the author.
“An archive is like a port, a place where goods are loaded and unloaded, stored, until the dockworkers release them from the storage again. As a film theoretician and editor, I search for hidden or elusive film material,” says Bill Morrison, commenting on his latest film.
The section entitled Russian Avant-garde will present pivotal works of Soviet filmmaking avant-garde of the 1920s a ‘30s. Russian film avant-garde in a nutshell: first comes Dziga Vertov, followed by everyone else. Festival visitors will be able to witness the first dialogue between Dziga Vertov and Mikhail Kaufman tonight at 11 PM at the DKO II. Their films Stride, Soviet! (Dziga Vertov, 1926) and Moscow (Mikhail Kaufman, Ilya Kopalin, 1927) will be accompanied by a solo guitar performance by Jan Kašpar and his project Obelisk of Light together with colleagues of the Raw Deal.
The soundscapes for Russian Avant-garde titles shown on Saturday, October 29, will be created by composer, choir leader and pianist Karel Loula, duo Ba:zel, and duo Afrika Corpse underscoring films Turksib and A Sixth Part of the World with their minimal music.
