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- A word, a record, a screenplay: How to build one's text, which
suddenly becomes strange, to provide the direction of one's thinking
with the power of cogency - the inner, conscious and unconscious
motivations can be anything, but a directed interview is a certain
objective fact, its effects; how to satisfy the inner truth and,
at the same time, describe the loneliness that leads to it, how
to maintain the language that is in harmony sism - a documentary
film as a literary dream, a dream that exist in writing and has
the order of a feature film. Perhaps a documentary that knowingly
overlaps both, but attempts to bring the real images, the very images
that arise from within ourselves. -
- A film essay inspired by the intimate relationship of Tomas Hejtmanek
with the director František Vláčil, a legend of the Czech cinematography.
Hejtmáneks's original intention was to capture a meeting, to follow
the path of Vláčil's films, to recollects the memories of people
who collaborated with Vláčil; an interview with the director was
meant to form the film's foundation. However, the death of Vláčil
changed the original plan. The words, interviews and original work
remained. The profile had to be changed completely, at the same
time however, it was to maintain the same kind of movement, its
internal structure and a mutual dependence. The documentary is a
fusion of reminiscence, feature film and a documentary. It is also
a multiple citation honoring thinking, feeling and the creative
process. The actor Jiří Kodet portrays Vláčil in the film. In fact,
Kodet represents the director throughout the whole piece, with the
only deviation being a different face, not a difference in the language.
The documentary uses Vláčil's language of film. The homage is an
emulation, a perfect combination of original footage with sequences
from Vláči's works. No biography or a profile, but an autobiography
trough an interview, a continuation of the original confession.
What makes this film original is the attempt to make the transfer
and the fundamental transgression of the framework of a mere profile
as a biographical note. The film's goal is not to find out… The
audience has to know beforehand, they have to enter the film knowing
the work of Vláčil, the layers of images and sound traces. They
should be familiar with the life of the director: in order to become
stronger by seeing the film, the audience has to be aeare of the
presence of certain elements, of the rate and the manner in which
they are used and connected with other elements which absorb them
and limit them, and of the unique features the given style uses
form this heritage.
Petr Kubica - IDFF Jihlava
Tomas Hejtmanek (Director, Producer)
born in 1971.
Between 1990 and 1997 he studied at FAMU in Prague - Department of Documentary Films, where in 1993 he produced the film One Hundredth inspired by the life and work of graphic designer and painter Vladimír Boudník. In 1992 he was at the internship at French Montpellier. In 1995 he was accepted to the Royal College of Art in London (film and TV), however, he did not start studying. Between 1994 and 1996 he worked on the film Anna and since 1997 on the full length film Sentiment.
Awards:
Jedna setina / One Hunderedth (1993)
Mediaschool 94, Lodge - Grand Prix;
Art Film Festival Trenčianské Teplice, Slovakia - main prize in the category "On the Road";
Mediawave, Hungary - Special Prize of the Jury;
Festival International du Film sur l´art, Montreal - Prize for Creativity;
Academia film Olomouc - Prize of Evald Schorm and Prize of the Students' Jury;
Independent Film Days, Augsburg (Germany) - International Scholarship for Young Film Talents
Sentiment / Sentiment (2003)
IFDF Jihlava - The Best Central European Documentary Film
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