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Cinema Muzeul Țăranului -
Wednesday, March 28, 2018 - 18:30
Cinema Muzeul Țăranului -
Friday, March 30, 2018 - 18:30
Written by:
Sylvain Cruiziat & Mila Zhluktenko
Cinematography:
Nikolai Huber
Editing:
Sophie Oldenbourg
Sound:
Philip Hutter
Music:
Ina Meredi Arakelian
Producer:
Veronika Faistbauer, Mariella Santibáñez, Sylvain Cruiziat, Mila Zhluktenko, HFF Munich
Romanian Premiere
Find Fix Finish: the fatal alliteration of drone warfare’s attack cycle. Secretive and invisible to those targeted citizens, it’s a military operation undertaken by trained soldiers in command booths from different continents. Precise and masterfully controlled, visual suspension flattens the image while the military protagonists enrich its contents through their narrated recollections of voyeuristic intimacy. Their remote contact takes an empathic and nervous turn as we look on to recognizable landscapes of Western topography, peeling the footage’s veneer of placidity to reveal a Hitchcockian stand-off between hunter and prey. As we descend onto a suburban swimming pool, ‘divine intervention’ begins to take a new, dark turn. (Andrei Tănăsescu, BIEFF 2018)
Director:
Mila Zhluktenko (b. 1991) is a Ukrainian-German filmmaker who started her studies in the documentary and television directing course at the University of Television and Film in Munich. Since 2014, she has directed award-winning short films screened at prestigious film festivals worldwide. She is a scholarship holder of the Ernst Ludwig Ehrlich Studienwerk.
Festivals, awards:
- Amnesty International Award - IndieLisboa 2017
- Best Experimental Short Film - Guanajuato IFF 2017
- Short Film Audience Award & Fugas International Competition Jury Prize - DocumentaMadrid 2017
- Special Mention Best Cinematography - Camerimage FF 2017
- San Sebastian International Film Festival 2017
- IDFA Amsterda 2017
- Clermont-Ferrand ISFF 2017
- Jihlava International Documentary Film Festival 2017
- Visions du Réel 2017
- Vancouver International Film Festival 2017
Filmmaker's statement:
Drone Warfare has received a lot of attention following the well-publicized targeted killings of terrorist leaders. Suddenly we discovered the mighty power of remote-controlled weapons and technology, seemingly enabling military operations to carefully select their target and deadly meet them without any human cost whatsoever. Drone warfare is by nature invisible, secretive or even unreal to the average person; hence our decision to bring it much closer to us in transposing it to our own familiar surroundings and day-to-day peaceful life. The first-hand accounts of drone pilots are central to the film: they do not only emphasize the intimate relationships built over long periods of observation between the pilots and their “future targets”, but also they place the viewer in the pilot’s seat and ocular perspective to recreate the same sensations and emotions those pilots go through during their missions. The soundscape of the film enabled us to further demonstrate the incredible level of close-up and voyeurism, whilst also enabling us to “fix” onto specific people or objects on screen. All in an effort to steer the viewer’s attention into an imaginative cross-hair. The apparent unmanned warfare becomes suddenly all too human, and the viewer starts to comprehend the psychological effect on the so-called “television warriors”. All that is left to do now is “push the little red button. (Sylvain Cruiziat & Mila Zhluktenko)
Drone Warfare has received a lot of attention following the well-publicized targeted killings of terrorist leaders. Suddenly we discovered the mighty power of remote-controlled weapons and technology, seemingly enabling military operations to carefully select their target and deadly meet them without any human cost whatsoever. Drone warfare is by nature invisible, secretive or even unreal to the average person; hence our decision to bring it much closer to us in transposing it to our own familiar surroundings and day-to-day peaceful life. The first-hand accounts of drone pilots are central to the film: they do not only emphasize the intimate relationships built over long periods of observation between the pilots and their “future targets”, but also they place the viewer in the pilot’s seat and ocular perspective to recreate the same sensations and emotions those pilots go through during their missions. The soundscape of the film enabled us to further demonstrate the incredible level of close-up and voyeurism, whilst also enabling us to “fix” onto specific people or objects on screen. All in an effort to steer the viewer’s attention into an imaginative cross-hair. The apparent unmanned warfare becomes suddenly all too human, and the viewer starts to comprehend the psychological effect on the so-called “television warriors”. All that is left to do now is “push the little red button. (Sylvain Cruiziat & Mila Zhluktenko)