Personal Life of a Hole
By Ondrej Vavrečka|
Repubblica Ceca, 2020, 62’
Sabato 9 ottobre PostModernissimo ore 19.15
Domenica 10 ottobre PostModernissimo – Sala Donati ore 15.30 (replica)
Director: Ondřej Vavrečka
Editors: Anna Petruželová, Benjamin Kolmačka, Ondřej Vavrečka
Camera: Simon Todorov
Sound: Jan Richtr
Music: Tomáš Vtípil, Marie Ladrová, Ondřej Vavrečka, Veronika Svobodová
Producer: Silk Film
I ask myself: What is the world? We live in a time hole and our life is interspersed with shared holes of nonsense. We’re always in the hole, trying to earn a living. Our memory ends in the hole of forgetting. There is the harmful ozone hole; the inexplicable black hole. Atoms are more empty than full, they are full of holes. In the ground there are holes full of trash and holes full of coal. There is a hole in our heart when we lose our lover. A window is a hole in the wall. There is also a hole in the film “Personal Life Of A Hole”. Holy hole, what to do with all these holes?! The film shot on 16mm colorful film stock contemplates contemporary culture, ecology, economics, and finally, love.
I ask myself: What is the world? “The world is not full of any heavy, material meaning, but it is a game that dances around its emptiness.
The essence of the world might not be something solid, but full of holes.
ABOUT SILK FILM
Based in Prague, Czech Republic, Silk Film is an emerging independent film production company dedicated to progressive authors’ projects and appealing stories. Being driven by two determined and enthusiastic female producers with various backgrounds Silk Film is now developing feature films, TV series and documentaries with a focus on fresh topics and international audience. Creative approach together with slate of up-and-coming authors makes silk projects delicate yet strong and ambitious. Website: www.silkfilms.cz
I am convinced that the only thing that can provide support for orientation in today’s world is a radically different creative act that will go somewhere else that will step outside the established forms, outside the themes and their processing. I do not want to illuminate, say, consolidate anything with film. I just want to suggest that the viewer can decide for himself. Because: how to say something about something that does not even exist (i.e., our time), how to reasonably consolidate what is irrational (i.e., our world)? The film wants to point out the absurdity, the nagging and the “punchiness” of our situation. The viewer should, after watching the film, ask about the nature of the system we all share. The viewer should feel the “apocalyptic” of our time. He should think about his private ways of accepting the system and the time in their inconsistencies, and perhaps even in this inconsistency finding beauty or even poetry and religiosity. The film will offer a certain “partial solution”. E.g. “Post folklore”, which lies not in cold digitalism, but in personal touch and contact with material. However, this “handicraft” is not tied to agricultural cycles as traditional folklore. It is focused on aesthetic processing of waste into artifacts that give us the opportunity to reconcile our “waste” world. Another “partial solution” to our absurd situation is to accept it not as something it is silent about, what we are complaining about, but that cannot be dissolved, but in its acceptance as another, even more absurd play that will make it a moving game object and not the rigors. The film should also encourage personal creativity, it should have the power it has initial art, outsider art or art brut.
Ondřej Vavrečka is a filmmaker, artist, and scholar. He studied economics, languages, philosophy, and film. He has created four feature-length documentaries and many shorts, performed in several musical groups, curated exhibitions, shown his own images, photographs, and objects, acted in the theatre, sewed his own costumes, and generally made his own way through this world, holes, hills, mountains, seas and all. Alžběta studied International Business at University of Economics, Prague and Film Producing at FAMU. Her scope is very wide. She has working experiences in commercial production and sport extreme documentaries, she has also worked as a creative producer on projects with Czech Television, for example Kamu in Mexico (2018, dir. Radek Karko) or Czechia not only for sport (2021, dir. Martin Vrbický). She focuses on experimental films, documentaries and recently also on feature films. She loves her dogs, photography, yoga, music, art and all kinds of extreme sports.
DE POTENTIA DEI (2016)
THE INTERPOSED (2014)
ULTIMUM REFUGIUM (2011)
BEGINNING AND LION / ORIGIN ALEPH (2009)