"Short Joy" watchlist (19/22)...
https://www.ji-hlava.com/programove-sekce/kratka-radost
23/10 (4)
GUESTLIST (Vladimír Turner, 2020)
White. Male. Rich. Have a yacht. Even richer. Have a heliport.
FIRST BIRTHDAY AFTER THE APOCALYPSE (Farah Hasanbegović, 2020)
The various stages of baking a cake to draw the viewer into her own stream of consciousness.
DOGS OF HOME (Daniela Repas, 2020)
The older population stayed while the younger population left. People are like dogs: they never forget their way home.
MANIFEST (Assa Rytter, 2019)
A mother painting her nude daughter. Overcoming shame for one’s own physicality and female sexuality.
24/10 (3)
COMMON LANGUAGE (Volia Chajkouskaya, 2019)
The effort to find a common language, which runs into stormy emotions and the inability to voice honest opinions.
UTUQAQ (Iva Radivojević, 2020)
Crude and bewitchingly beautiful Arctic as a place of magic blending of languages, traditions.
→ post UTUQAQ digression → ARCTIC ANTICS (Ub Iwerks, Burt Gillett, 1930)
Were there ever penguins in the Arctic?
Yes! In 1936, a Norwegian polar explorer named Lars Christensen saw the potential for an Arctic penguin population. He plucked nine king penguins from South Georgia’s beaches and sent them north aboard the SS Neptune. They were settled on the Lofoten islands, where they would be safe from foxes and other land predators. Over the next decade, other species’ of penguin, including macaroni penguins, were also introduced. Their existence in the Arctic was short-lived, and the last time they were spotted was in 1949. No one is sure where they went or whether they managed to reproduce, but for a short time, a beautiful island in the Arctic played host to a small population of penguins.
https://youtu.be/CVvuZ_bwXvQ
→ pre FIELD RESISTANCE digression → HISTORIES OF SIMULATED INTIMACY (Emily Drummer, 2017)
Great obstacles excite great passions; since eros consists not in possession but in wanting, what could stimulate eros more than distance and especially death, itself the ultimate distance?
→ pre FIELD RESISTANCE digression → BEHIND THE TORCHLIGHT (Emily Drummer, 2015)
Emerged out of an academic research project about women movie-theater employees in the inter-war period. Special attention to women ushers, known as “usherettes." blends archival text, clips from the romantic comedy The Good Fairy, a newsreel from an “America’s Most Beautiful Usherette” contest, and super 8 film shot at a movie palace in Flatbush, Brooklyn.
https://vimeo.com/115317552
FIELD RESISTANCE (Emily Drummer, 2019)
Environmental devastation in Iowa. Dystopic vision via microscopic images of plants, footage from university greenhouses, karst sinkholes with primary flora and fauna, or a dilapidated granary.
25/10 (10)
SOLASTALGIA (Eline Kersten, 2020)
Nostalgia refers to the feeling one has of a place they left behind. Solastalgia, on the other hand, refers to the homesickness one has when they are still at home.
EXPERIMENT KATJA (Eléonore De Montesquiou, 2020)
She represents the entire generation of the 1990s, which sees itself as a house with no address or railway tracks leading nowhere.
OUR DAILY WORK (Lucia Chicos, 2019)
When they’re not working, they animatedly discuss religion and hypocrisy, lament during tea that they don’t have onions for sausage, or joke and sing. The method of filming, in which the camera is only a non-intrusive observer, only reinforces the monotony of the actors’ movements and experiences.
THE FALLING STAR (Loïc Malo, 2019)
An inhospitable world of shadows in which supporters and opponents of the Communist monster clash in face to face encounters.
RED TAXI (Unknown, 2020)
In addition to the contact sound of fights, screams, singing, chants of the slogan “Liberate Hong Kong! Revolution of our times!”, and the howls of those who've been beaten, we also hear the conflicting comments of taxi drivers from both sides of the border - Hong Kong and the neighboring mainland Shenzhen.
WORLDS APART (Shin Thandar, 2020)
Violent conflicts broke out between the Muslim Rohingya and the Buddhist majority in Rakhine State.
GREETINGS FROM MYANMAR (Sunniva Sundby, Andreas J. Riiser, 2020)
Unsuspecting tourists enjoy a peaceful holiday as a result of the largest genocide in Asia.
MIDNIGHT KIDS (Maxence Vassilyevitch, 2020)
Young Inuits explore the desolate snowy landscape under the midnight sun and transform their home into a vast playground full of melting glaciers and abandoned ships.
MRS. HAPPY (Nikola Klinger, 2020)
Upon seeing the envelope with my initials, you may well wonder who it is that writes to you. Of course, it is just little me.
HELICONIA (Paula Rodríguez Polanco, 2020)
The story, filled with biblical symbols, stands out with its sensual grainy 8mm images reminiscent of heliconia leaves, plants pollinated by birds.
26/10 (2)
FOR MEN GO BY (Thibault Verneret, Assia Piqueras, 2019)
Over the past fifty years, the Mange-Garri chemical plant has drained more than 30 million tons of toxic sludge into the Mediterranean Sea while producing alumina.
84 (Daniel Santiago Cortés, 2020)
In 1984, Álvaro Ulcué Chocué, a Colombian Catholic priest and indigenous rights activist, was shot dead. Documentary footage and fictional gangsters capture the state of a country dominated by drug cartels and social unrest.
But looks cool!
