ISAMA ZING: About documentary music

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).



Csaba Bollók: Does fiction start where non-fiction ends?

The class is a study of the borderline between fiction and non-fiction, and about the possibilities of a dramaturgical development in both fields.

Csaba Bollók is a director-screenwriter based in Budapest. His works were screened and awarded on the festival circuit worldwide, represented Hungary at the Academy Awards in 2009. He also works for script development workshops (Midpoint, Praha and Rawi, Jordan, the “Arabic Sundance”).


Tereza Ježková: Do they come or not?

For inspiration: discussion about the promotion of culture. For all cultural workers, producers, directors and spectators of the festival.

How do you promote one of the largest cultural institutions – the Prague National Gallery? What is the difference between the promotion of the brand and the promotion of individual parallel projects? What does it mean to look after journalists? What communication tools work? How do you get viewers and how do you expand the viewer community? How is success measured? Do visitors come to PNG or not?

Tereza Ježková got her PhD at the Department of Media Studies at the Faculty of Social Sciences of the Charles University. She also got her BA there, at the Department of Marketing Communication and PR, where she currently teaches Art Marketing. She is Head of the Marketing and PR Department of the Prague National Gallery, where she has been working since 2015. Previously, she worked in the Native PR agency – among other things, she participated on contracts for the Czech Banking Association, ŠkoFIN or ING Pojišťovna.


Lukáš Kokeš: Directing of documentary movie

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

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 project is co-financed by the Governments of Czechia, Hungary, Poland and Slovakia through Visegrad Grants from International Visegrad Fund. The mission of the fund is to advance ideas for sustainable regional cooperation in Central Europe.