Here are three films of the Directors’ Debuts Competition under patronage of Polish Filmmakers Association<\/b>! <\/p>\n
Kidnapped<\/span><\/b><\/p>\n Miguel \u00c1ngel Vivas’s<\/b> film begins with a \u201cHitchcockian earthquake”, only to bring more emotional heat afterwards. A tale of a rich family who is assaulted by three psychopaths in balaclavas is shocking both in terms of realistically displayed moments of sheer brutality, and psychological tortures that the main characters have to endure. \u201cKidnapped”<\/b> is also a perfect directorial job, the one in which the visuals and the plot are equally important. This is not an assault typical for Hollywood movies, but a truly brutal attack that will make many viewers squirm with disgust. By watching carefully the prologue’s dialogues and mannerisms, the viewer will be able to prepare himself (at least partially) for an intense experience that is the second part of the film. \u201cKidnapped”<\/b> is not for the faintest of heart. <\/p>\n Original title: Secuestrados **********<\/b><\/p>\n Heat Wave<\/span><\/b><\/p>\n In his feature debut Jean-Jacques Jauffret<\/b> offers the viewers a puzzle, both in terms of the plot and its narrative structure. Its solution requires concentrating on what is obvious and what cannot be seen on the screen. Jauffret<\/b> tells his story through the changing perspectives of the film’s protagonists, playing with the perception of time, and including important information in the space outside the frame. While getting with the characters to the \u201cHeat Wave’s”<\/b> final act, we are witnessing, step by step, a series of events that will soon alter the lives of everyone in the film. For a tragedy – it does not matter whether big or barely noticeable – does not need to be a result of rational reasoning; the cause may be somebody’s unintentional error, or the fact that a person just had a bad day. <\/p>\n Original title: Apr\u00e8s le sud **********<\/b><\/p>\n My Name Is Ki<\/span><\/b><\/p>\n The titular Kinga, a.k.a. Ki, is a selfish and infantile woman who had to mature too soon because of giving birth to a child, and the only thing she ever wanted in life was freedom from commitments and any responsibility. Nonetheless, Leszek Dawid does not judge her actions, allowing his heroine to bring mayhem into everybody’s lives. Although Ki uses everything and everybody, she has one big advantage – she is not false, she does not pretend to be somebody else to get some help, she even follows some sort of moral code. Whereas the reality outside the window is full of people who perceive others only in utilitarian terms. <\/p>\n Polish title: Ki ***** ***** ***** ***** *****<\/p>\n Directors’ Debuts Competition<\/b> (together with Cinematographers’ Debuts Competition) was initiated in 2010 due to the Festival’s increasing openness to the noteworthy artists and the new film phenomena they create. The idea of creating additional competition section was a natural consequence of our previous activities. For years we have been promoting innovative projects that combine intellectual freedom, remarkable insight into world affairs and a desire to inspire other artists of the screen. <\/p>\n Directors’ Debuts Competition<\/b> brings new discoveries: great movies of high artistic value and great filmmakers whose new ventures surprise not only the Jury members but all audiences around the world as well. <\/p>\n <\/div>\n <\/p>","protected":false},"excerpt":{"rendered":" Here are three films of the Directors’ Debuts Competition under patronage of Polish Filmmakers Association! Kidnapped Miguel \u00c1ngel Vivas’s film…<\/p>\n","protected":false},"author":1,"featured_media":0,"comment_status":"open","ping_status":"open","sticky":false,"template":"","format":"standard","meta":{"_acf_changed":false,"footnotes":""},"categories":[150],"tags":[],"class_list":["post-9165","post","type-post","status-publish","format-standard","hentry","category-wiadomosci-plus-camerimage-2011"],"acf":[],"_links":{"self":[{"href":"https:\/\/archive.camerimage.pl\/en\/wp-json\/wp\/v2\/posts\/9165"}],"collection":[{"href":"https:\/\/archive.camerimage.pl\/en\/wp-json\/wp\/v2\/posts"}],"about":[{"href":"https:\/\/archive.camerimage.pl\/en\/wp-json\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"https:\/\/archive.camerimage.pl\/en\/wp-json\/wp\/v2\/users\/1"}],"replies":[{"embeddable":true,"href":"https:\/\/archive.camerimage.pl\/en\/wp-json\/wp\/v2\/comments?post=9165"}],"version-history":[{"count":0,"href":"https:\/\/archive.camerimage.pl\/en\/wp-json\/wp\/v2\/posts\/9165\/revisions"}],"wp:attachment":[{"href":"https:\/\/archive.camerimage.pl\/en\/wp-json\/wp\/v2\/media?parent=9165"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/archive.camerimage.pl\/en\/wp-json\/wp\/v2\/categories?post=9165"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/archive.camerimage.pl\/en\/wp-json\/wp\/v2\/tags?post=9165"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}Still from “Kidnapped”<\/i>
Cinematography by Pedro J. M\u00e1rquez<\/b> brilliantly emphasizes all the suspense and the feeling of entrapment of \u201cKidnapped”<\/b>. M\u00e1rquez<\/b> uses extremely long shots to follow characters while walking through all the rooms of a large villa in which the protagonists were taken hostage, thus using its spatial quality to the limits. The cinematographer uses film camera smartly, taking the advantage of everything that is and isn’t within the frame. M\u00e1rquez<\/b> also makes a great use of different types of visual ideas – POV shots, coming from behind the character, camera imitating person’s wobbly walk, division of the screen into two frames – to make \u201cKidnapped”<\/b> visually visceral experience. Though its most important aim is to make the viewer tremble with the members of the assaulted family, shaken, confused, trying desperately to get out of the nightmarish situation they are in. <\/p>\n
Directed by: Miguel \u00c1ngel Vivas
Cinematography: Pedro J. M\u00e1rquez<\/b><\/p>\nStill from “Heat Wave”<\/i>
Shooting such a structurally complex film demanded a great discipline on the set. Jauffret<\/b> and his cinematographer, Samuel Dravet<\/b>, carefully prepared all the shots and composition of frames, so that they could fully control the reality shown on screen. Due to this in some scenes they were able to define the characters through their everyday chores, and in other moments to herald that the unknown danger is nigh. The camera moves deliberately after the characters, often filming something that has no importance to the film whatsoever, and thus injecting a kind of false sense of calm into the screen. Then again, wide shots, on which people look like mere additions to the vastness of nature or simply ants in an ant hill, bring out the impression of vague anxiety. <\/p>\n
Directed by: Jean-Jacques Jauffret
Cinematography: Samuel Dravet<\/b><\/p>\nStill from “My Name Is Ki”, courtesy of Best Film<\/i>
To represent Ki’s world in a plausible manner, the filmmakers exchanged visual brilliance for visual efficiency. Cinematography by \u0141ukasz Gutt is minimalistic, but exceptionally meaningful. The characters are often shot in close-ups and full shots, emphasizing Ki’s radiantly colorful clothing reveals her free-spirited personality, and shooting two people on the other sides of a frame symbolizes the ideological gap between them. Dawid and Gutt are also not afraid to bring some kitschy contrasts – Ki’s bloody-red footprints juxtaposed with her snow-white trousers and blouse – hence accentuating the girl’s emotional immaturity.\u201cAttenberg”<\/b> is an original film, both in content and form. <\/p>\n
Directed by: Leszek Dawid
Cinematography: \u0141ukasz Gutt
Polish distributor: Best Film
Polish premiere: 30th September 2011<\/b><\/p>\n
Competition organized under the patronage of Polish Filmmakers Association<\/p>\n