9. - 16.11.2017
Medzinárodný filmový festival Bratislava posledné tri roky vo svojej vizuálnej koncepcii vychádza z prepojenia hlavnej témy aktuálneho ročníka a festivalového programu. Ako komunikačnú tému si každý rok volí jednu z programových sekcií festivalu. Tento rok je ňou sekcia Lexikón: Filmové herectvo.
Oficiálny festivalový spot a celá vizuálna koncepcia vychádza z tejto témy. Tému však nespracováva prvoplánovo – nepromuje sekciu len ako formálny obsahový prvok festivalu. Komunikuje atmosférou situácie, príbehu, momentu, ktorý je s témou spojený. Tento rok je tou témou filmové herectvo, ktorému sa venuje programová sekcia Lexikón. Herectvo bude vždy základný nositeľ emócie a nikdy nebude vymenené ani nahradené technológiu. Technológia sa ale stáva súčasťou filmu aj v žánroch a situáciách, ktoré by sme nepredpokladali. V jednozáberovom spote herci Anna Rumanová a Matej Marušin odohrali klasickú filmovú romantickú situáciu pred zeleným plátnom. Autor spotu Martin Hasák bez slov, bez dialógu, bez popisnosti diváka ponorí do filmového procesu, výtvarnosti silnej zelenej farby, ktorá aj napriek svojej technickosti a neemotívnosti v kombinácii so živou emóciou vytvára veľmi silný výtvarný koncept.
ON je ako klasický romantický filmový hrdina, strapatý, drsne obyčajný a ofúknutý vetrom.
ONA je krásna, s výraznou no jednoduchou tvárou a jemne vlnitými svetlými vlasmi.
Behind the Curtain | Verhon takaa Teemu Nikki, 2013, Finland, 7’, OV (fin) + ES + eST A school audition in the 1980s. Steve has been practicing very hard, but singing in front of an audience is not easy. It might be easier to do so behind the curtain. Telling a story of surviving a singing contest in a small town school, this subtly hilarious short film might bring back fond childhood memories of some horrify- ing moments, but it also shows how acts of kindness lead to repayment in kind and how sometimes it is best to do the show behind the curtain. Sirocco Mikko Kuparinen, 2012, Finland, 15’, OV (fin) + ES + eST Almost free of dialogue, the picture tells a powerful story of a young, shy woman who finds an abandoned baby behind a dumpster. She brings the infant home and finds solace and human connection with it – a connection that fails with adults, especially when the prospect of a functioning relationship turns into a nightmare. The Witching Hour | Juhannusyö Miikka Leskinen, 2014, Finland, 16’, OV (fin) + ES + eST A summer solstice eclipsed by sin and superstition. Aino has her eyes set on Perttu but over the course of the nightless night, his true nature dispels her illusions. The Finnish people keep many beliefs and traditions related to the Midsummer Night, which is exactly when this film is taking place set in the Finnish wilderness, exploring these mystical hours of bonfires and love spells through the eyes of Aino who has become infatuated with a young man. All Hallows‘ Week | Hiljainen viikko Jussi Hiltunen, 2011, Finland, 17’, OV (fin) + ES + eST Jussi Hiltunen explores the complicated emotions following a shooting incident in front of a small town disco in Northern Finland. Two witnesses are struggling to cope with the feelings of loss, sorrow and guilt. Hiltunen seems to gravitate toward portraying difficult human feelings as he dealt with the themes of guilt and forgiveness in his debut feature, Law of the Land (2017). Áigin Jouni West, 2014, Finland, 10’, OV (fin) + ES + eST A thousand years ago, Sameland was a target for repeated raids by various plunderers. Being peace-loving people, the Sámi fled every time they realised that they were on the losing side. Then came a day when one of the Sámi begun to fight back against the oppressors to protect his family. Based on Sámi mythology, this anime-style film is the first Sámi-spoken animated film ever made by a Sámi director. Emergency Calls / Hätäkutsu Hannes Vartiainen, Pekka Veikkolainen, 2013, Finland, 15’, OV (fin) + ES + eST The film’s content may not be suitable for all viewers, not because of the explicit imagery but rather because of its soundtrack that may disturb the audience as it is based on real-life emergency calls registered by the Finnish emergency response centre administration. The recordings testify to various events, ranging from a sudden birth of twins to a school shooting; however, at the very core of this imaginative documentary is the last call for help transmitted from the “Estonia” ferry which sank in 1994 in the Baltic Sea. Legend: OV - original version ES - english subtitles eST - electronic slovak subtitles Show more
Sherry, a self-destructive makeup saleswoman, lives by her own set of rules, spending her days confidently touting for makeup products and her nights picking up men at bars. She refers to self-help books for inspiration and likes to watch old black-and-white movies on a small TV set before heading out to the nearest bar to escape her suburban milieu. Once there, she chain-smokes, drinks far too much and picks up just any man for a night of anonymous sex. We soon learn that Sherry is estranged from her family. She occasionally visits her young daughter, Alice, whom she has largely left to the care of her sister, Abby, a quietly disappointed and angry woman who now demands that Sherry step up to the plate, financially if not emotionally. Meanwhile, no one talks about the child’s father. After the ultimatum, Sherry tries to open up a beauty salon with her best friend, Danny. But as Sherry’s love and business plans begin to unravel, she takes control of her life in a dramatic turn of events. Show more
Written/ Unwritten | Scris/Nescris Adrian Silisteanu, 2016, Romania, 20’, OV (rum.) + AT + eST At a maternity ward, a Romani couple learns their underage daughter has just given birth to a baby girl but the 50-year-old father, Pardică, doesn’t seem to rejoice the early motherhood for which he blames his wife. Things become thicker when a hospital employee asks them to sign the baby’s birth certificate. The imminent danger of state authorities separating him from his daughter spurs Pardică to action. Amateurs | Amateurs Naveen Padmanabha, 2016, India, 12’, OV (eng.) + ES + eST Three young men set up an antenna for their ham radio (amateur radio) in an urban chawl of Pune, Maharashtra. They want to connect with the International Space Station (ISS) that orbits the Earth. The astronauts on the ISS thus begin to transmit space weather to all ham radio listeners. A young man with his hand held radio antenna listens to different frequencies wandering through different spaces. Inhale | Inhale Sean Mullan, 2017, Great Britain, 16’, OV (eng.) + ES + eST This short documentary revolves around Jim who tames wild horses as a way to come to terms with losing his wife and daughter. An insight into how one man views his existence and how it relates to the existence of others, the film explores the infinite momentum of life via energy never destroyed only transformed. Inhale is part of Bridging the Gap, a documentary new talent initiative that offers training and opportunities to aspiring filmmakers. Next | Sledujuščij Elena Brodach, 2016, Russia, 7’, no dialogues Another night, another naked body in her bed. She feels no love, just passion. a sharp lancet in her hand and a hidden box with her secrets. Only she knows how it all will end and who will be her next victim. Islands / Les Îles Yann Gonzalez, 2017, France, 23’, OV (french) + ES + eST The characters in this film wander through the maze of eroticism and love, with desire being their only guide. “I really wanted it to be a ‘sentimental crowd’; even the monster is sentimental,” said director Yann Gonzalez. “I wanted it to be a dream which is affectionate as well as erotic … i wanted to stage fantasies in a dark, sometimes even a little cliché manner, and add a layer of feelings … Suddenly, an ultra-lyrical love dialogue is added to all this, while being a priori very raw.” Legend: OV - original version ES - english subtitles eST - electronic slovak subtitles Show more
Broke, with nothing but her cat and doors closing in her face, Paula is back in Paris after some time away. As she meets different people along the way, there is one thing she knows for sure: she is determined to jumpstart her life and she will do so with style and panache. Estranged from her mother and ignored by most of her former friends, Paula just got a boot from her long-term boyfriend. As irresponsible as she is resourceful, Paula slowly moves up the social ladder, moving from a temporary crash pad to a cheap hotel to a modest but acceptable lodging. She has one blue eye and one brown eye, a trait that makes her involved in one of many intriguing episodes as she manages to turn a case of mistaken identity into a job offer. Set in the Parisian neighborhood of Montparnasse on the Seine’s left bank, the film was made with a modest budget and an almost entirely female crew. Show more
Coralie lives on a desolate place with an elderly man who may and may not be her father. Her mother has just been committed to a mental institution. Living nearby are three local gangsters who sell drugs and are about to dip their fingers in pimping as well. When Pierrot is released from prison, it sets off a cascade of events leading to a bloody end. But Denis Côté made neither a gangster flick nor a rural gothic horror. All That She Wants is a story of solitude set against the backdrop of unspoken past, with Coralie and her desire to break free from a bleak male-dominated world in the spotlight. This minimalist tale is told through black-and-white imagery with interesting compositions and great depth. Show more
For insurance purposes, the dashboards of many Russian cars are equipped with on-board cameras that constantly record the traffic so that they can produce evidence about the culprits of traffic accidents. An unintended by-product of this practice is a great number of randomly recorded bizarreness that entertains and shocks the online population in the form of viral videos and unwittingly affects the image of modern Russia and its people, their habits and temperament. In this particular case, Dmitrii Kalashnikov acts in the capacity of a quaint curator rather than a director. Sticking to the principle of not editing individual recordings, he creates a conceptual mosaic of videoed weirdos: a runaway bride, a nutcase drug addict on the hood of a car, a stray parachutist, the site of murder of Boris Nemtsov near the Kremlin… and tons of crushed coachworks. An ample dose of black-and-black humour and absurdity mixed with stunning images of destruction you will not be able to take your eyes from. Somebody call an ambulance! Show more
Tutti Marek Jasaň, 2016, Slovakia, 1’, OV (sk) + ES Topic: hands De Luxe Mária Pinčíková, 2016, Slovakia, 19’, OV (sk) We invite you to spend New Year’s Eve in the local community centre with your relatives and friends. You can look forward to an ample programme, singing performances and best jokes of the last year. Who will win the raffle’s main prize? About My Sister Barbora Sliepková, 2016, Slovakia, 16’, OV (sk) + ES A documentary essay about an adolescent girl depicts the world as seen through the eyes of a young, intelligent person, who unwillingly decided to withdraw from society. This film is about distance between people and about the fear it causes. Yours Michal Fulier, 2017, Slovakia, 6’, OV (sk) + ES With the narrative propelled by the score, the film tells a story of a young woman who just lost her man. Thanks to a virtual reality, she discovers an alternative way to be with him again. However, the new virtual world becomes both a pleasure and a prison for her. China Gregor Valentovič, 2016, Slovakia, 17’, OV (sk) + ES Miša is a former swimmer whose professional career abruptly en- ded due to a car accident. She has since severed ties with almost everyone around, seeking comfort and piece in solitude. One day a doorbell rings and the past comes knocking. Will Miša open? The Contrast Barbora Bárková, 2017, Slovakia, 4’, OV (sk) + ES Capturing of a love story solely through symbols and colour simultaneously stands as a warning of a relationship in which one only takes and the other only gives. Legend: OV - original version ES - english subtitles Show more
The lengthy military conflict of the 1990s in former Yugoslavia left deep scars in the memory of each belligerent nation. In this intense drama set two decades after the series of civil wars ended, a group of middle-aged war veterans from different backgrounds get together in an off-season hotel in Bosnian mountains for an extended group therapy session, a “reconciliation course” of sorts that is conducted by a Slovenian psychiatrist, Ivan. Exploring the ability to forgive others only once we have forgiven ourselves, the film brings together the crème de la crème of Balkan male actors. While both acting and cinematography are almost documentary-like for the most part of the running time, director Alen Drljević chose to work with some of the region’s best talent rather than non-actors, which really paid off. Men Don’t Cry won Special Jury Prize at the most recent edition of the Karlovy Vary IFF. Show more
It is easy to ridicule bodybuilders and picture them as brute barbarians whose sole concern is the size and symmetry of their musculature. But Denis Côté in his latest motion picture chose to portray them rather as gentle creatures each of whom must have been brought to their hobby by something, although we may never discover what it was. Côté follows six bodybuilders and, as one would expect, he depicts them as if everything revolved around the carnal desire for the perfection of their flesh, as if they lacked any other purpose in life. We don’t know what they have been through or what they do for a living, and we realise that there is more to their stories that remains unaddressed – for instance when we see one of them weeping. Nevertheless, Côté’s portrayal brings a civil dimension to his characters’ fascination. Show more
His first feature since Honey, which won Berlin Golden Bear in 2010, this is a bold departure from the intimate tales of contemporary Turkey for which director Semih Kaplanoğlu’s is best known. In an undefined near future, Professor Erol Erin lives in a community protected from multi-ethnic immigrants by magnetic walls. For unknown reasons, the community’s farms have been devastated by a genetic crisis. Erol learns about Cemil Akman, a fellow geneticist who wrote a thesis about the looming crisis affecting genetically modified seeds, and sets out on a journey beyond the wall to find him, a journey that will change everything Erol knew. Inspired by a chapter from the Quran and shot in the United States, Germany and Turkey, this philosophical sci-fi tells a post-apocalyptic story set in a world where those that survived are divided between the remnants of cities ruled by corporations and populated by elites and the areas called Dead Lands where genetically incompatible immigrants suffer from drought and epidemics. Show more
Strim Aleksander Johan Andreassen, 2017, Norway, 19’, OV (nor.) + ES + eST In Strim we join Sigrid in search of her missing cat, Liv. During the search, her inner monologue turns outwards, both in terms of movement and action. She collides and progresses from interactions with the society that surrounds her. Will she ever find her cat? The Train, the Forest Patrick Buhr, 2017, Germany, 3’, no dialogues We are looking at the landscape darting behind a train window and trying to bring near and distant tree branches into optical order while walking through the forest. The thrill of the speed and the chaos of the lines are confusing, leaving behind the sketches of what is and of what imagination can combine out of fleeting sensory data. Cracking an electronic whip, Patrick Buhr pushes hand-drawn lines into the third dimension. André Eckardt, DOK Leipzig 2017. The Separate System Katie Davies, 2017, Great Britain, 23’, OV (eng.) + ES + eST While examining spaces between military, custody and ‘civilian’ life through the notion of work, The Separate System communicates what we do not understand about the unique set of relationships shared by individuals inhabiting these spaces. Call of Cuteness Brenda Lien, 2017, Germany, 4’, no dialogues “While we watch the ‘cat fail’ of the day in cheerful safety, all that remains invisible in this neoliberal nightmare catches up with us,” said Brenda Lien of her debut film. “The cat’s body is consumed, exploited and controlled. The fear of pain is greater than the will for freedom. Objects are fetishized and subjects are made into things – quantifiable and ready for use. They are the natural commodity for a luxury they are not even aware of.” Retuš | Retouch Kaveh Mazaheri, 2017, Iran, 20’, OV (perz.) + ES + eST While Maryam’s husband is weightlifting at home, the weight suddenly falls on his throat and puts him on the verge of death. Maryam first tries to help him but then she decides to stand by and watch him die. Then she packs her stuff and leaves with her child, pretending her husband has disappeared and she has no news on his whereabouts. Legend: OV - original version ES - english subtitles eST - electronic slovak subtitles Show more
„We screwed until we could screw no more, and in the autumn i became pregnant.“ A female voice soberly introduces us to her own experience from an invisible position outside the image’s sharply framed window on Western welfare reality. New technology raises new ethical dilemmas and one them is brought to a head in this formally conscious essay – which even allows itself to do so with an edge of bone-dry irony. What do you do if your foetal scan reveals that your child does not live up to modern society’s expectations of normality? A painful question that more and more people have to ask themselves. The perfectly composed images and the edgy controversion could be signed by Jacques Tati and Harun Farocki, but Thomas Fürhapter is pursuing a different yet highly human mission in his impressive first film. Show more
Dr. Kaveh Nariman, a principled and virtuous man who works as forensic pathologist at the medical examiner’s office, becomes involved in an accident with a motorcyclist (Navid Mohammadzadeh) in which he injures his 8-year-old son. He pays compensation to the father and offers to take his child to a nearby clinic. The next morning, he finds out that the same little boy has been brought in for an autopsy. Dr. Nariman faces a dilemma: did the child die as a result of the accident or due to food poisoning according to a fellow doctor’s diagnosis? Exploring the issues of culpability and responsibility in a society that dwells on the edge of the rule of law, the film has won Best Director Award for Vahid Jalilvand and Best Actor Award for Navid Mohammadzadeh at the Venice Horizons section of the 74th Venice IFF. Jalilvand’s feature debut, Wednesday, May 9, was screened in the fiction competition of the Bratislava IFF two years ago. Show more
Early morning of June 14, 1941, in Stalin-occupied Latvia: Soviet invaders break into the home of Melanie and Aleksandrs, journalists working for an independent Latvian newspaper, and force them to leave everything behind. At the train station, they get shoved into cattle cars destined for Siberia along with over 15,000 of their fellow citizens. In the face of frost, famine and ferocity, Melanie seeks strength only through writing hundreds of letters to Aleksandrs that never get sent, letters teeming with hope for a free Latvia and a better tomorrow. For the full 16 years, Melānija keeps a handwritten family chronicle for her son, Andrejs, as she herself no longer has hopes of returning to Latvia. Based on the true life story of Melānija Vanaga, the film is a celebration of the unyielding human spirit and an agonising account of the greatest tragedy ever to befall the Latvian nation. The motion picture is Latvia’s official entry for the Academy Award for the Best Foreign Language Film. Show more
After his mother’s death, Nahuel lives with his stepfather in Buenos Aires. a violent brawl during a rugby practice gets him expelled from his school and now, for the first time, he is sent to live with his estranged biological father, Ernesto, who is a hunting guide in Patagonia. The two of them never had any actual relationship as it has been more than a decade since they last saw each other. Nahuel’s rebelliousness and Ernesto’s harshness will combine to cement a new father-son bond during the hunting season. At first, their relationship is so fragile that any kind of mishandling could destroy it. Against the backdrop of the harsh and cold wilderness, Nahuel and Ernesto must incubate their budding feelings for one another while struggling to remain emotionally invulnerable and burying their fears of losing each other. Hunting might just work as an excellent excuse to bring them together and become the common ritual of mutual maturation. Show more
While placed in the category of fiction, its main protagonists, members of the Ravinger family, play themselves. They live at their own home and nothing about their lives is stylised. It is an “ordinary” family living its everyday life that is not special in any way. It is a life without much drama, although every member of the family must cope with their own problems. A film on everydayness, Our Daily Life is an almost sociological probe into an ordinary family living in Czechoslovakia at the end of the 1960s. We follow the family dynamics including mutual relations, hierarchy and “conflict” between the rational and the emotional. We see the growing up of children and the related pressure from their coevals, the fear of exclusion, the first date with love, but also financial problems and dilemmas of what a family can and cannot afford. Show more
On a cold winter’s night in modern Tehran, two young lovers get into a serious problem and they have just a few hours to fix it. They run around from one hospital to the next in search for help, but none of the doctors will admit the young woman and provide her with the medical attention she so desperately needs. While the couple is trying hard to find a solution to the problem, they must simultaneously hide their love from their parents. As a result, their relationship is facing a crisis and threatens to suffer dire consequences of their youthful naivety. Caught between conservative traditions and modern desires, the couple must face their uncertain future. The longest night of their lives will put their relationship to the test and see them forever changed by the sobering light of sunrise. Disappearance explores the issues of young love and loss of innocence within the confines of Iranian society. Show more
500,000 years | 500,000 Pee Chai Siris, 2016, Thailand, 15’, no dialogues 17 years ago, Homo erectus fossils were found at the archaeological site in Lampang. Nowadays, nobody cares about this scientific discovery anymore, except for some locals who occasionally use it for spiritual activities. But one evening when an outdoor cinema truck screens a film at the site as an offering to an ancient ghost, something unexpected happens. The film was produced by Kick the Machine Films, the studio of acclaimed artist and filmmaker Apichatpong Weerasethakul. Brazuca Faidon Gkretsikos, 2017, Greece, 19’, OV (gr.) + ES + eST During the football world championship in Brasil, 11-year-old Boyko will do anything to obtain the so-called Brazuca, the official World Cup ball, to stop his football friends from using him only as a goalkee- per. Starring a charismatic lead actor, the film paints a beautiful, naturalistic sketch of summer, Greek street football, and boyhood rivalry. High Cities of Bone | Altas Cidades de Ossadas João Salaviza, 2017, Portugal, 18’, OV (port.) + ES + eST Born in Pedreirados Húngaros, a slum on the outskirts of Lisbon, Karlon is the pioneer of creole rap on the run from the housing project to which he has been relocated. He spends sleepless nights in sweltering tropical heat. Among the sugar canes, a rumour arises but Karlon doesn’t stop singing. The film is a probing and imaginative exploration of Karlon’s memories, the institutional siege, and the submerged stories from dark times. Saint Hubert / Saint Hubert Jules Comes, 2017, Belgium, 20’, OV (flam.) + ES + eST For many years Werner Schönwald, a heart-and-soul forester, has taken care of the oldest nature preserve in Belgium. When a large-scale search is carried out by the police, the peace and quiet in the forest is severely disrupted and Werner feels hunted down on his home turf. The main character is beautifully rendered by one of Belgium’s leading stage and film actors, Wim Opbrouck. Legend: OV - original version ES - english subtitles eST - electronic slovak subtitles Show more
During escalating Cold War in the early 1960s, a mute and lonely Elisa works as a cleaning lady at a high-security government laboratory where she discovers a new specimen, a mysterious marine creature. While Elisa becomes drawn to it, the facility head Richard Strickland only desires to take the creature apart to gain a scientific edge over the Soviets with the same dominance he exerts over his wife. His sickening ways are outweighed by Elisa’s black co-worker, Zelda, and gay neighbour, Giles, who provide much of the film’s comedic relief through their embodiment and subversion of the era’s stereotypes. Shot in a rich, stylised palette of greens and browns, set partly above an old but working cinema and filled with little visual effects, this other-worldly fable by master story teller Guillermo del Toro is hardly a fantasy. In essence, it is a film about tolerance, an allegory for all of history’s outcasts that attempts to shine a light on the conditions from which real monsters are born. Show more
Into the World Alžbeta Hrušovská, 2017, Slovakia, 20’, OV (sk) + ES This graduation documentary revolves around Majko and Gabika who are taking part in a project called “Autistic People at Work”. Although finding a stable job far from easy even for healthy peo- ple, Majko and Gabika are struggling against the odds of destiny. In their case, autism turns from an obstacle into a work tool. woMAN Patrícia Gyenesová, 2017, Slovakia, 17’, OV (sk) + ES Exploring the issue of womanhood from the unconventional viewpoint of transgender DJ Matia and mapping her ordinary life that is full of joyful as well as unpleasant situations, the picture encourages the viewers to ponder their opinions regarding differences between women and men. Jútub.com Róbert Bošeľa, 2017, Slovakia, 24’,OV (sk) + ES The film peeks into the lives of youtubers and maps their influence on young people. Uncovering the privacy of modern entertainers through three youtube channels, the picture is intended primarily for adolescents’ parents who can see whom their children follow on the Internet and whom they view as role models. Dance Teacher Barbora Vaculová, 2017, Slovakia, 16’, OV (sk) + ES Focusing on the theme of bygone fame, the film lets the viewer in on the life story of Mária Zagatová, a former dance teacher who longs to rewind the clock and bring back her best days again. Legend: OV - original version ES - english subtitles Show more
Durga is the name of a Hindu warrior goddess combating evils and demonic forces and simultaneously the main character of the film who is on the run from her home village along with a man. They must get to the nearest railway station to catch a train out. In the middle of the night, they stop a car with two small-time gangsters who offer them a ride. The couple get into the car but the gangsters soon begin to be troublesome rather than helpful. So begins a road movie through the Indian countryside that is full of fear and peculiar characters. This formally polished film has no traditional plot as it is rather about feelings, the power of words and gestures, and about violence that never gets graphic. a woman named Durga may be worshipped as a goddess, but what happens when she is suddenly thrown on the street in the man’s world? Sexy Durga is a disquieting film that gets under your skin. Show more
A psychological drama of a lonely woman waiting for her husband and son who went to work to America 20 years ago. The woman´s courage and belief impresses a young Eva Kamenická. She is determined to leave her egoistic husband and start a new life with her daughter. Show more
A stylized portrait of an authentic Czech neo-Nazi, who hates his life but doesn’t know what to change. Corrosively absurd and starkly chilling in equal measure, this tragicomedy investigates the radical worldview of “decent, ordinary people.” And just when it seems that its message can’t get any more urgent, the film culminates in a totally uncompromising way. http://www.kviff.com Show more
In 1974, regional TV station news reporter Christine Chubbuck committed suicide during a live television broadcast. The incident is considered the first televised suicide in history and although it inspired Sydney Lumet’s Network, the story and its background remain mostly unknown. Some four decades later, actress Kate Lyn Sheil is cast in a stylised version of the story, and to prepare for the role, she investigates the mysteries and meanings behind Christine’s tragic demise. Committed to doing justice to Christine’s life, Kate candidly pulls back the curtain on her acting process. As a filmmaker, Robert Greene systematically explores the concepts of fact and fiction, performance and make-believe in different forms and contexts. In one of his previous projects, he delved into the world of American wrestling, only to turn his attention to the acting profession next. Kate Plays Christine is a study of consummate physical and psychological metamorphosis in which the actress blends with her character while the film itself remains primarily a game. Show more
These classic silent-screen comedies show the principal difference between the slapsticks of Charlie Chaplin and Buster Keaton. The Floorwalker r. Charles Chaplin, 1916, 25´, USA, OV (eng..) + eST In this comedy, the Tramp visits a department store as a penniless customer but due to physical likeness he is soon mistaken for an embezzling floorwalker and, as it is so often the case with him, begins to create havoc. The film is the case in point of how Chaplin acts (and directs). As a character, he is always active, creates comic situations, and uses props. He is the one to push the envelope and – unlike Buster Keaton – makes gags actively. One Week r. Eddie Cline, Buster Keaton, 1920, 23´, USA, OV (eng.) + eST Frigo gets married and as a wedding gift the newlyweds receive a prefabricated house, which they must put together by themselves. The film is a good example of how Keaton makes gags. Frigo’s character is usually passive as he reacts to the comic situations rather than creating them himself. The hilarity stems exactly from his reactions and legendary deadpan face. In his films, Keaton the director seems to be toying with Keaton the character. Legend: OV - original version eST - electronic slovak subtitles Show more
Strawberry Days Eva Sekerešová, 2016, Slovakia, 13’, OV (sk) + ES Living an ordinary life in the company of annoying hallucination can be really difficult… Atlantis, 2003 Michal Blaško, 2017, Slovakia, 30’, OV (sk) + ES It is 2003 and a young couple from Ukraine, Martin and Denisija, are trying to get to Germany. Magic Moments Martina Buchelová, 2016, Slovakia, 20’, OV (sk) + ES While the parents struggle to earn a living, their daughters practically take care of each other. Their trouble begins to lean heavy on the elder sister. But thanks to their mutual bond, she realises she has what she cares about the most. Legend: OV - original version ES - english subtitles Show more
An adaptation of a classic play by Tennessee Williams tells the story of a woman who is in the process of losing everything, particularly her mental health. Blanche seeks temporary refuge with her sister Stella and her husband Stanley, but the initial conflict with Stanley escalates while Blanche slumps deeper and deeper in her issues. The role of Stanley Kowalski was the first big role for Marlon Brando who introduced the so-called method acting to the big screen. Compared to Vivien Leigh, Kim Hunter and Karl Malden who unlike him won Academy Awards for their performances, Brando is much more subtle in experiencing emotions while retaining a strong physical presence. He became the first star of the Actors Studio and a role model for future generations of actors. Along with Elia Kazan, Lee Strasberg and others, he launched a revolution in film acting. Show more
Studio 727 is a cutting-edge Slovak post-production company that has been part of a great number of film and advertising projects since its founding in 1997. A master class given by its founder Ladislav Dedík and his team of co-workers will focus on the issue of digital acting and will feature an interactive presentation of motion capture and full body scan, i.e. technologies that will shape the future of screen acting in the era of computer-generated and special-effect films and videogames. . Show more
Všeobecne záväzné podmienky nákupu a rezervácie vstupeniek prostredníctvom internetu, platné na prevádzkach prevádzkovateľa Slovenský filmový ústav.
Všeobecné záväzné podmienky vymedzujú práva predávajúceho (prevádzkovateľ) a kupujúceho (zákazník) a platia iba pri kúpe a rezervácie vstupeniek cez internet.
Zákazník berie na vedomie, že rezervácia je nezáväzná a v prípade, že si vstupenky nevyzdvihne v stanovenom čase pred začatím predstavenia, prevádzkovateľ môže vstupenky uvoľniť k ďalšiemu predaju bez ďalšieho oznámenia zákazníkovi. Stanovený čas exspirácie rezervácie je oznámený zákazníkovi ihneď po ukončení rezervácie v rezervačnom systéme a zároveň zaslaný e-mailom, pokiaľ bol e-mail správne zadaný. Vstupenky si zákazník môže vyzdvihnúť len v pokladni a to oznámením variabilného čísla rezervácie alebo svojich kontaktných údajov zadaných pri rezervácii. Zákazník môže byť vyzvaný k predloženiu svojich identifikačných dokladov personálom prevádzkovateľa za účelom kontroly.
Zákazník berie na vedomie, že súčasne si môže rezervovať vstupenky len na 1 predstavenie. Rezervovať vstupenky na ďalšie predstavenia môže až po ukončení rezervácie, ktorú predtým začal. Pokiaľ zákazník nedodrží tieto pokyny, prevádzkovateľ neručí za to jeho rezerváciu, napriek tomu, že zákazník obdrží email o potvrdení rezervácie. Prevádzkovateľ si vyhradzuje právo na zrušenie takejto rezervácie a to bez oznámenia zákazníkovi.
Zákazník berie na vedomie a bezvýhradne súhlasí, že ním zadané kontaktné údaje môžu byť zaznamenané v systéme za účelom neskoršieho kontaktovania prevádzkovateľom alebo jeho pracovníkmi. Zákazník súčasne berie na vedomie a súhlasí, že v prípade opakovanej neprebratej a neodvolanej rezervácie, mu môže byť budúca rezervácia zablokovaná. Rezerváciu je možné odvolať osobne, telefonicky alebo kliknutím na odkaz v potvrdení rezervácie.
Vzmysle ust. § 7 ods. 6 písm. k) zákona č. 102/2014 Z.z. o ochrane spotrebiteľa pri predaji tovaru alebo poskytovaní služieb na základe zmluvy uzavretej na diaľku alebo zmluvy uzavretej mimo prevádzkových priestorov predávajúceho, nemôže spotrebiteľ odstúpiť od zmluvy, predmetom ktorej je poskytnutie služieb súvisiacich s činnosťami v rámci voľného času a podľa ktorej sa predávajúci zaväzuje poskytnúť tieto služby v dohodnutom čase alebo v dohodnutej lehote. Zakúpené vstupenky prostredníctvom internetu je možné vrátiť iba z dôvodu, že sa predstavenie z technických príčin neuskutoční (porucha na technickom zariadení, nebol dodaný film a podobne) a to maximálne do 30 dní od plánovaného uskutočnenia predstavenia. V takomto prípadeje potrebné zaslať oficiálnu žiadosť o vrátenie plnej hodnoty zaplateného vstupného na e-mailovú adresu: firstname.lastname@example.org. Písomná žiadosť musí obsahovať názov predstavenia, dátum a čas, počet vstupeniek a cenu celkom, variabilný symbol platby a číslo účtu, na ktorý má byť zaplatená čiastka poukázaná. Ak žiadosť nebude obsahovať niektorý z uvedených údajov, nebude vybavená.
V prípade, že pri kúpe vstupeniek prostredníctvom internetu došlo síce k odpísaniu sumy z účtu zákazníka, ale vstupenky sa nezobrazili, reklamáciu vrátenia peňazí z dôvodu neposkytnutia služby si musíte uplatniť v banke, ktorá zákazníkovi vystavila platobnú kartu, prostredníctvom ktorej platba prebehla. Takéto reklamácie nemôže riešiť prevádzkovateľ.
Kupujúci, ktorý si zakúpi vstupenky prostredníctvom internetu, bez výhrad prijíma všetky ustanovenia týchto obchodných podmienok a je povinný sa nimi riadiť.
Uvedené obchodné podmienky sú platné v deň zakúpenia alebo vykonania rezervácie vstupeniek zákazníkom.
Prevádzkovateľ rezervačného a nákupného systému je spoločnosť Ticketware SE, so sídlom Hlavná 23, 917 01 Trnava, IČO: 48298034, e-mailový kontakt email@example.com, prehlasuje, že platobné služby pre platobné metódy, konkrétne platby pomocou platobných kariet a platby pomocou online bankového prevodu zaisťuje spoločnosť GoPay s.r.o. (ďalej len “GoPay”), sídlo Planá 67, 370 01 České Budějovice, Česká Republika, IČ: 26046768. Obchodníkom/príjemcom platieb pre GoPay je spoločnosť NewVision Money s.r.o., so sídlom Lidická 700/19, Veveří, 602 00 Brno, IČO: 08693242, Česká republika, e-mail: firstname.lastname@example.org, tel.: +421 948 842538, ktorá zabezpečuje príjem, vyúčtovanie a zasielanie platieb. Spoločnosť Ticketware SE rieši reklamácie platiteľov kartou v zastúpení za svojich klientov (3.strana).
GoPay poskytuje platobné služby z obchodného aj technického hľadiska a realizuje platobné transakcie na svoj účet a svoje obchodné meno. Prípadné reklamácie a otázky o platobných transakciách môže Platiteľ smerovať priamo na GoPay prostredníctvom telefonickej linky +420 840 818 918 (po-pia 08 - 17h) alebo pomocou e-mailovej podpory na adrese email@example.com, či písomne na adresu sídla.
Po potvrdení objednávky má Platiteľ možnosť využiť službu bankového prevodu, ktorá ho presmeruje na internetové bankovníctvo jeho banky. Platiteľ prostredníctvom internet bankingu odošle Platbu. Predávajúci expeduje vstupenky ihneď po prijatí potvrdenia o úhrade od GoPay.
Citlivé vstupné údaje, ktoré zadáva Platiteľ do systému internetového bankovníctva sú chránené platobnými bránami bánk a nedostávajú sa do prostredia tretích strán. Spracovatelia platieb vidia iba informácie o transakcií, ktoré im banka s odoslanou transakciou oznámi.
Kliknutím na tlačidlo: “Pokračovať” potvrdzuje Platiteľ súhlas so Všeobecnými obchodnými podmienkami prevádzky. Pokračovaním v platbe dáva taktiež prevádzkovateľovi systému súhlas so spracovaním zadaných kontaktných údajov, a to až do doby písomného vyjadrenia nesúhlasu s týmto spracovaním. Kontaktné údaje, ktoré Platiteľ uvedie pri objednaní, slúžia výhradne pre potreby prevádzkovateľa systému a nebudú poskytnuté iným subjektom s výnimkou spracovávateľov platieb a prevádzky, v ktorej si platiteľ kupuje vybranú službu alebo produkt..
Používateľ nesmie využívať Rezervačný a nákupný systém spôsobom, ktorý by mohol znížiť jeho hodnotu a/alebo poškodiť, upraviť, znemožniť, preťažiť alebo zhoršiť funkciu časti a/alebo celku Rezervačného a nákupného systému, či infraštruktúry Poskytovateľa zahŕňajúcej akékoľvek pasívne a/alebo aktívne prvky infraštruktúry a/alebo sieťové zariadenia, či servery. Používatel nesmie zneužívať, blokovať, modifikovať alebo inak meniť akúkoľvek časť Rezervačného a nákupného systému, alebo sa len pokúsiť narušiť stabilitu, chod alebo dáta Rezervačného a nákupného systému. Prevádzkovateľ nenesie zodpovednosť za prípadné neoprávnené zásahy tretích osôb, v dôsledku čoho tieto osoby neoprávnene získajú prístup k osobným údajom používateľa a/alebo k jeho používateľskému účtu a/alebo k príslušnej databáze poskytovateľa tieto údaje použijú, využijú, zneužijú alebo sprístupnia tieto údaje tretím osobám. Akékoľvek vyššie uvedené činnosti môžu byť trestné.
Skontrolujte si prosím zadanú e-mailovú adresu. Na zadaný e-mail môžu byť zaslané objednané a uhradené vstupenky alebo e-mailová správa potrebná k vyzdvihnutiu vstupeniek v pokladni prevádzky. Na nesprávne zadaný e-mail nie je možné uplatňovať si reklamáciu.
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