The retrospective of IndieLisboa’s 20th edition takes us to the former Czechoslovakia: one of the most interesting and indispensable living directors, Jan \u0160vankmajer, is the master under the spotlight of 2023, whose work will be screened at Cinemateca Portuguesa, in its usual programming partnership with the festival, from April 27 to May 7.<\/p>\n\n\n\n
Between repulsion and fascination, the films of the visual artist turned filmmaker, who took his first steps in the theatre at the Laterna Magika, reflect a subconscious world, where matter takes on a new enchanted form. In 1964, he produced his first short film, The Last Trick<\/strong>, that uses actors as puppets, opening the doors to another dimension where reality makes room to illusion. Today, his body of work includes over thirty films that are stylistically unforgettable for their richness and diversity: they combine actors and animation, drawing, clay, collage and puppetry, in subversive works that mix dark humour into the sinister. The editing rhythm of his films is essential to his episodic creations, whose themes speak to us of food, but also of decomposition, often taking us to the memory of childhood and the world of dreams.<\/p>\n\n\n\n Internationally renowned for his animations, in particular for the use of the stop motion technique, rather than manipulating ordinary objects, which exist stuck in the banality of their existence, the filmmaker brings them back to life, uncovering their hidden natures and revealing all their secrets, as in Meat Love<\/strong> (1989), where two pieces of meat fall in love with each other before ending up in a frying pan. \u0160vankmajer’s surrealist universe, which also includes Alice<\/strong> (1987) and Faust<\/strong> (1994), two prise-winning adaptations at the Berlin and Cannes film festivals respectively, turns him into a singular artist, capable of transforming the world, using magic to decipher its mysteries.<\/p>\n\n\n\n In 2022, Jan \u0160vankmajer announced his retirement from cinema, and Kunstkamera<\/strong> (2022) will be his last film. This cycle is a perfect opportunity to discover the artist who influenced such idiosyncratic directors as Terry Gilliam and Tim Burton. Jan \u0160vankmajer, The Surrealist<\/strong> opens with Conspirators of Pleasure<\/strong> (1996), a grotesque black comedy about a group of hedonists that mixes animation and live-action. Jarom\u00edr Kallista<\/strong>, \u0160vankmajer’s regular producer and collaborator, will be in Lisbon for a conference at the Cinemateca Portuguesa. The schedule of screenings will be announced soon. IndieLisboa – International Film Festival returns to Lisbon cinemas from April 27.<\/p>\n\n\n\n List of films<\/strong><\/p>\n\n\n\n Feature films:<\/p>\n\n\n\n Alice<\/strong>, Jan \u0160vankmajer, 1987, 84\u2032 Short films:<\/p>\n\n\n\n The Last Trick<\/strong>, Jan \u0160vankmajer, 1964, 10\u2032 The retrospective of IndieLisboa’s 20th edition takes us to the former Czechoslovakia: one of the most interesting and indispensable living directors, Jan \u0160vankmajer, is the master under the spotlight of 2023, whose work will be screened at Cinemateca Portuguesa, in its usual programming partnership with the festival, from April 27 to May 7. Between repulsion […]<\/p>\n","protected":false},"author":3,"featured_media":13661,"comment_status":"closed","ping_status":"closed","sticky":false,"template":"","format":"standard","meta":{"_relevanssi_hide_post":"","_relevanssi_hide_content":"","_relevanssi_pin_for_all":"","_relevanssi_pin_keywords":"","_relevanssi_unpin_keywords":"","_relevanssi_related_keywords":"","_relevanssi_related_include_ids":"","_relevanssi_related_exclude_ids":"","_relevanssi_related_no_append":"","_relevanssi_related_not_related":"","_relevanssi_related_posts":"","_relevanssi_noindex_reason":"","footnotes":""},"categories":[57],"tags":[],"class_list":["post-13665","post","type-post","status-publish","format-standard","has-post-thumbnail","hentry","category-news"],"_links":{"self":[{"href":"https:\/\/indielisboa.com\/en\/wp-json\/wp\/v2\/posts\/13665","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/indielisboa.com\/en\/wp-json\/wp\/v2\/posts"}],"about":[{"href":"https:\/\/indielisboa.com\/en\/wp-json\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"https:\/\/indielisboa.com\/en\/wp-json\/wp\/v2\/users\/3"}],"replies":[{"embeddable":true,"href":"https:\/\/indielisboa.com\/en\/wp-json\/wp\/v2\/comments?post=13665"}],"version-history":[{"count":0,"href":"https:\/\/indielisboa.com\/en\/wp-json\/wp\/v2\/posts\/13665\/revisions"}],"wp:featuredmedia":[{"embeddable":true,"href":"https:\/\/indielisboa.com\/en\/wp-json\/wp\/v2\/media\/13661"}],"wp:attachment":[{"href":"https:\/\/indielisboa.com\/en\/wp-json\/wp\/v2\/media?parent=13665"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/indielisboa.com\/en\/wp-json\/wp\/v2\/categories?post=13665"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/indielisboa.com\/en\/wp-json\/wp\/v2\/tags?post=13665"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}
Faust<\/strong>, Jan \u0160vankmajer, 1994, 90\u2032
Conspirators of Pleasure<\/strong>, Jan \u0160vankmajer, 1996, 75\u2032
Little Otik<\/strong>, Jan \u0160vankmajer, 2000, 127\u2032
Lunacy<\/strong>, Jan \u0160vankmajer, 2005, 118\u2032
Surviving Life<\/strong>, Jan \u0160vankmajer, 2010, 105\u2032
Insects<\/strong>, Jan \u0160vankmajer, 2018, 98\u2032
Athanor: The Alchemical Furnace<\/strong>, Adam Ol\u2019ha\/Jan Da\u0148hel, doc., 2020, 117\u2032
Kunstkamera<\/strong>, Jan \u0160vankmajer, 2022, 51\u2032<\/p>\n\n\n\n
Johann Sebastian Bach: Fantasy in G minor<\/strong>, Jan \u0160vankmajer, 1965, 8\u2032
A Game with Stones<\/strong>, Jan \u0160vankmajer, 1965, 8\u2032
Punch and Judy<\/strong>, Jan \u0160vankmajer, 1966, 10\u2032
Et Cetera<\/strong>, Jan \u0160vankmajer, 1966, 8\u2032
Historia Naturae (Suita)<\/strong>, Jan \u0160vankmajer, 1967, 9′
The Flat<\/strong>, Jan \u0160vankmajer, 1968, 13\u2032
Picnic with Weissmann<\/strong>, Jan \u0160vankmajer, 1969, 13\u2032
A Quiet Week in the House<\/strong>, Jan \u0160vankmajer, 1969, 13\u2032
Don Juan<\/strong>, Jan \u0160vankmajer, 1970, 30\u2032
The Ossuary<\/strong>, Jan \u0160vankmajer, 1970, 10\u2032
Jabberwocky<\/strong>, Jan \u0160vankmajer, 1971, 12\u2032
Leonardo\u2019s Diary<\/strong>, Jan \u0160vankmajer, 1972, 10\u2032
Castle of Otranto<\/strong>, Jan \u0160vankmajer, 1973, 17\u2032
The Fall of the House of Usher<\/strong>, Jan \u0160vankmajer, 1980, 15\u2032
Dimensions of Dialogue<\/strong>, Jan \u0160vankmajer, 1982, 11\u2032
Down to the Cellar<\/strong>, Jan \u0160vankmajer, 1982, 14\u2032
The Pendulum, the Pit and Hope<\/strong>, Jan \u0160vankmajer, 1983, 15\u2032
Virile Games<\/strong>, Jan \u0160vankmajer, 1988, 15\u2032
Hugh Cornwell: Another Kind of Love<\/strong>, Jan \u0160vankmajer, 1988, 4\u2032
Meat Love<\/strong>, Jan \u0160vankmajer, 1989, 1\u2032
Darkness\/Light\/Darkness<\/strong>, Jan \u0160vankmajer, 1989, 10\u2032
Flora<\/strong>, Jan \u0160vankmajer, 1989, 20”
The Death of Stalinism in Bohemia<\/strong>, Jan \u0160vankmajer, 1990, 10\u2032
The Food<\/strong>, Jan \u0160vankmajer, 1992, 17\u2032<\/p>\n","protected":false},"excerpt":{"rendered":"