Film Inn Masterclass

Masterclass with discussions with professionals from V4 countries on film professions associated with documentary films, primarily specializations overlooked by documentary film festivals and awards (where categories are usually only for narrative films): music composition, production, distribution, cinematography, direction, and editing. The instructors will primarily be addressing film professionals,however, the MCs are also open to accredited viewers.


Lukáš Kokeš: Directing of documentary movie

Thursday 30. 5. 2019 - 11:30

UJEP - Jan Evengelista Purkyne University, FF UJEP (Room A306)

Cinematography, form, style, and way of narration. Documentary films are generally perceived as synonymous with boredom because their use of surprising film language and dramatic narrative is often very limited. Using selected scenes from Czech and international documentary cinema as examples, we will think about the method of filming reality, about its translation into a captivating story, and about engaging the viewer in the film form. What means can a documentary director employ to capture our attention? We will show that even a documentary may offer a remarkable viewing experience. Lukáš Kokeš Studied Film Studies at the Faculty of Arts of the Charles University, graduated in Documentary at the Film and TV School of Performing Arts in Prague. As a cinematographer and editor, he has also collaborated on other directors’ projects (e.g. Jan Gogol Jr., Peter Kerekes, Vít Klusák & Filip Remunda, etc). Together with Klára Tasovská, he co-directed his feature debut Fortress (Pevnost, the Best Czech Documetary at IFDF Jihlava 2012), featured at many international festivals and nominated for a LUX Prize 2013. As a co-writer and second unit cinematographer, he worked on the Wasteland drama series (2016) by HBO Europe. His latest project was with Klára Tasovská again, with whom he co-wrote and co-directed his second feature film, Nothing Like Before (Nic jako dřív, 2017), which had its world premiere at the prominent IDFA festival in Amsterdam. Since 2018, he has been teaching at the Department of Documentary Film at the Film and TV School of the Academy of Performing Arts in Prague.


Pavla Kubečková: How to produce documentary movie

Thursday 30. 5. 2019 - 14:00

UJEP - Jan Evengelista Purkyne University, FF UJEP (Room A306)

Is it hard to make films in the Czech Republic? How is the money raised? And what is the position of documentary film? Is it hard to get it to cinemas and get audiences interested? What is the producer’s position in a documentary film development? And during its production and post-production? How to ensure a film’s success with critics and at festivals? How important are international contacts? And how crucial is the relationship with televisions? And why would one even organize such festival as ELBE DOCK? Pavla Janoušková Kubečková is one of the major Czech producers of the young generation. In 2009, she co-founded nutproduction company, which made a name for itself with Agnieszka Holland’s Burning Bush miniseries (2013), and Wasteland series (2016). Pavla and nutproduction are also behind the production of many auteur documentary and animated films including Fortress (2012, the Best Czech Documentary at IFDF Jihlava), Show! (2013, nominated for a Czech Lion and a Czech Film Critics’ Award), The Great Night (2014, the Best Czech Documentary at IFDF Jihlava), FC Roma (2016, nominated for a Czech Lion, a Czech Film Critics’ Award, and Best Czech Documentary at IFDF Jihlava), and Nothing Like Before (2017, nominated for a Czech Lion and a Czech Film Critics’ Award). The discussion will be hosted by the director of ELBE DOCK festival Filip Kršiak.


Tereza Cz. Dvořáková

Saturday 1. 6. 2019 - 11:30

Hranicar - Cinema Hall

Have you ever considered why we enjoy watching films so much? People have always been fascinated by moving pictures and powerful stories. What can we find out, though, when we try to focus on just a short part of a film a bit more? We break the immersion in the story and such arguments as “like/don’t like” stop being relevant. The situation thus forces us to focus on HOW instead of WHAT. Try to notice how it is filmed, how it is edited, how it sounds, how it feels, and why that might be. In which ways is the manner a a specific film is made different from other films. In what ways is it the same. When we look at a short part of a film in more detail – watch it several times, try to describe it – we often notice elements that can be used to describe the style of the whole film. We find out if the film’s form is somehow influenced by its topic. We return to the story, to the WHAT we like so much as viewers, but we now perceive it enriched by the awareness of how the story is in harmony with the filming style, and that helps us perceive its uniqueness.

Tereza Czesany Dvořáková, PhD.

She teaches Film History and Film Theory at the Film Studies Department of the Faculty of Arts of the Charles University in Prague, at FAMU, and at the University of Creative Communication. Among other things, she specializes in the history of Czech and German film, and also in film education for children and youth. Together with her colleagues, she has designed the ELBE DOCK student program and selected topics and lecturers.


ISAMA ZING: About documentary music

Saturday 1. 6. 2019 - 16:30

Hranicar - Gallery

Isama Zing is a producer, DJ, and a member of Mäss micro collective. His compositions oscillate between carefully crafted post-industrial soundscapes and spontaneous bursts of euphoric energy, represented by his playful melodic structures. The collection of everyday motifs with frequent industrial mapping of territories has become a reverberation of civilizational machinery, processually crumbling apart and melting together again in Isama Zing’s music. He also composes soundtracks for theater and dance performances, and also for short and full-length films – he created the scores for the documentary film Mečiar (The Lust for Power, 2017), and for the film Špína (Filthy, 2017).


The project is co-financed by the Governments of Czechia, Hungary, Poland and Slovakia through Visegrad Grants from International Visegrad Fund.