Celebrating 10 years of dok.incubator at Ji.hlava IDFF

    The Machine Which Makes Everything Disappear The Machine Which Makes Everything Disappear

    12 films at Sundance, 29 at IDFA and even a nomination for Academy Awards! Over the past 10 years dok.incubator workshop has been working with outstanding documentaries, contributed to 150 films and led many of them to awards at the world's top festivals. This year's anniversary will be celebrated naturally with film, namely with dok.incubator’s own retrospective festival section at Ji.hlava IDFF.

    Some of the most successful films will be screened as a part of the dok.incubator retrospective festival section which takes place on Friday October 29th in the Small stage of DKO Jihlava.


    10:00     The Machine Which Makes Everything Disappear /GE/

    2012, 101 min

    To get away. The main motif of the existence of young Georgians, who spend day after day in helplessness, misery and frustration with the reality of their homeland affected by the shadow of the Soviet past and an unclear future. A tapestry of destinies and fragments of extraordinary and ordinary life stories begins with the casting of young Georgians between 15 and 25 years old for the film shoot. A dream career in Hollywood, a desire to show off their singing skills, concern for their relatives and a flock of sheep, and above all, a strong need to share their stories of everyday hardship and joy. The portrait miniatures are transformed into a more complete parable about a broken, dying country and young people with dreams and a touch of hope.

    13:30     A Machine To Live In /US/

    2020, 89 min

    The feature-length documentary essay by the filmmaking duo of Yoni Goldstein and Meredith Zielke tells the story of the Brazilian capital’s unique, almost mystical architecture, its prophetic history, and the cosmic dreams of the future that surround it. Pieced together from snippets of audiovisual texts, songs, interviews, and snapshots, the four distinct narrative perspectives form a hybrid portrait of the futuristic, almost cosmic landscape of Brasília, which becomes a source of UFO cults, spiritualist temples, and the transcendent. The filmmakers portray the architectural environment of Brasília as a unique, inspiring place where utopia often becomes reality. 

    17:00     The Earth Is Blue as an Orange /UA/

    2020, 74 min

    Anna, a single mother, lives with her four children in the war zone of the Ukrainian Donbas. Although the war has intervened in their lives, the family manages to maintain the cosy atmosphere of a home full of joy and mutual support amidst the endless bombing and chaos. The members of the household also share a passion for cinema and decide to make a film together about their experiences of war. Iryna Tsilyk’s feature documentary debut shows how, through passion and creativity during filmmaking, one can cope with trauma and remain human despite living in an inhospitable and life-threatening environment.

    19:30     The Disappearance of My Mother /IT/

    2019, 94 min

    Benedetta Barzini, a former icon of the 1960s fashion world, provocative intellectual and leader of the feminist movement, educator, publicist, willful wife and mother, is planning a symbolic retirement. She is unable to escape the hectic world of media attention and her own son. Her main commitment is a promise to her son, a filmmaker, who decides to make an intimate portrait of his mother and the trajectory of her disappearance from the fake world of media images, simulacra and perfidious morality. Evasive glances and frank confessions, depression and spontaneous dancing. A touching, comic and sentimental struggle of a mother and her son in the (self)reflection of the film lens.

    22:00     VENUS – Let’s Talk About Sex /DK, NO/

    2016, 80 min

    An unexpectedly open-ended film-survey, an intimate confession of Danish women, is based on deep, intimate female desire and frustration with their own sexuality. From penetration to voyeurism, from fellatio to masturbation, a studio arrangement of female desires spreads out against the white background of their own fantasy. One hundred women, one hundred encyclopedias of wild and conventional sexual desires, dreams, and phobias that span between language, description, and revelation of one's own body and nudity. The intimate narrative, groping in words and feelings, gradually transforms into a manifestation of feminine uniqueness, malleable sexuality, and the erotic identity of the goddesses of everyday sensuality.