THE BEST REAL FILM FESTIVAL
The event that everyone had been looking forward to finally happened. The Short Movie Club Film Festival Nefiltravanae Kino took place!
This year the festival featured 10 programs: video art, experiment, documentary, fiction, animation, national program, human dignity, women in cinema, unfiltered program and, of course, a program of films composed by artificial intelligence.
The festival encountered certain difficulties. First, there is the internal political pressure because of the publicly stated anti-war stance of the film festival. Most of the organizers were forced to flee the country. Cultural centers and cinemas were forced to terminate their relations with us. But we had many friends and received incredible support!
But most importantly, the films of the programs were relevant to the time and resonated with viewers.
For instance, this year’s animation program was largely apocalyptic. People act as passive observers or as writers of the apocalypse.
A revived Guernica and Dachau gas slowly fill the cinema hall of the frozen in horror audience as cold marsh water among the ruins fills the mass graves of our memory. Fire needs only three components: fuel, a heat source and oxygen. Sometimes the war in TickTock hard to distinguish from the war in the simulation games: Jesus playing contrabass on top of a racing car, digital humanity in a St. Vitus dance, stop-motion and virtuality crumbling on the screen, reality being the only one. (from the description of the video art program)
There is non-fiction in any fiction. If we say that the voice of the author is the voice of culture. It would seem that the narrativeness of fiction cinema got its finished shapes quite a long time ago. On the one hand, the program includes the most striking but classic films in terms of form (“FREE FALL” by Emmanuel TENENBAUMk, “PRINCESS OF JERUSALEM” by Guillaume Levil, Nicolas Paban). As well as films that show the diversity and flexibility of the form (“LONG LIVE PEOPLE!” by Nicolás Torres Payán), its evolution and contemporaneity (“MOM’S CAT” by Annabella Schnabel). However, this does not remove the agenda of conventionality in cinema, the problem of its monologism (“WORK IT CLASS!” by Pol Diggler).
The film festival focuses on the study and awareness of external or internal censorship, filters. In this regard, the programs are structured according to the criterion of the types of filters.
The festival lasted three days. The first day was the opening screening of programs with unpredictable filters in the selection of films. The unpredictability was due to the neural network algorithms in the Artificial Intelligence program, as well as the opportunity for the author to come and present his film at the festival. The second day was devoted to competitive screenings. Here it was possible to consider the aesthetic, cultural, commercial and ideological filters of the organizers and the jury in selecting films. The third day was devoted to thematic screenings.
WINNERS OF THE FESTIVAL: