Depth
The documentary film Depth is a story about the crew of a fishing trawler stationed in Mariupol. The men spend most of their lives locked up inside an iron vessel when they go into the open sea. That is when their vulnerabilities are revealed. Their days are filled with monotonous and hard work. This work sucks the life out of them and doesn’t allow them to leave the city, which is caught between the threat of war and environmental catastrophe.
Recovery
Zsolt Eross je nejúspěšnějším maďarským horolezcem. Doposud slezl 8 nejvyšších vrcholů světa, včetně Mount Everestu. Pád laviny ve slovenských Vysokých Tatrách 2. ledna 2010 mu způsobil zlomeniny na obou nohách. Otevřená, tříštivá zlomenina na jedné noze předznamenávala náročnou, dlouhou léčbu. Zsolt Eross se rozhodl pro radikální řešení, které slibovalo brzké zaléčení: amputace jeho pravé nohy, od kolene dolů. Film zaznamenává pohyb, příběh zraněného člověka, který se opět staví na vlastní nohy jako zcela nová osobnost. Příběh, který se může stát každému z nás. Zsolt Eross - jehož příjmení v maďarštině znamená "silný" - projevill v této situaci svou houževnatost. Jak jen to bude možné, hodlá se vrátit zpět do hor.
Několik měsíců po nehodě už vyráží do Himalájů, zdolat šestý nejvyšší vrchol Cho Oyu, kde ale zjišťuje, že nehoda ho oslabila víc, než myslel.
Několik měsíců po nehodě už vyráží do Himalájů, zdolat šestý nejvyšší vrchol Cho Oyu, kde ale zjišťuje, že nehoda ho oslabila víc, než myslel.
Tento dům nemá žádná poškození
"This House is Undamaged" is a documentary that explores the complex transformation of Mariupol, a city in Ukraine that was extensively destroyed during the Russian invasion in 2022. The film explores reconstruction efforts under Russian control and highlights the strategic obliteration of war marks through rapid rebuilding.
One of the film's main narrative motifs is the deconstruction of media narratives about the reconstruction of Mariupol. Through a thorough examination of various media sources - from social media posts, amateur footage and propaganda videos to official reports and advertisements - the film seeks to reveal how the image of the city's "reconstruction" is carefully constructed and manipulated. By exposing the flaws and distortions in these depictions, the documentary critically analyses how the media plays a key role in shaping public perceptions of urban transformation, both locally and internationally.
The film unfolds not around a single character, but around the city itself. Mariupol is both the protagonist and the stage, a body whose scars, ruptures, and forced transformations are traced through found footage, propaganda clips, amateur videos, and fragments of memory. Its streets and buildings, its ruins and reconstructions, speak louder than any individual voice. But the city is not only seen — it is heard. Its soundscape becomes the deeper narrative, the pulse beneath the image.
The city is read as topography — a map in flux, marked by shifting borders of control, layers of rubble and scaffolding, zones of habitation and zones of abandonment. Satellite images dissolve into shaky phone recordings; promotional clips overlap with whispered testimonies. The city becomes a palimpsest, where destruction and construction exist side by side, each erasing and overwriting the other, yet never fully succeeding.
One of the film's main narrative motifs is the deconstruction of media narratives about the reconstruction of Mariupol. Through a thorough examination of various media sources - from social media posts, amateur footage and propaganda videos to official reports and advertisements - the film seeks to reveal how the image of the city's "reconstruction" is carefully constructed and manipulated. By exposing the flaws and distortions in these depictions, the documentary critically analyses how the media plays a key role in shaping public perceptions of urban transformation, both locally and internationally.
The film unfolds not around a single character, but around the city itself. Mariupol is both the protagonist and the stage, a body whose scars, ruptures, and forced transformations are traced through found footage, propaganda clips, amateur videos, and fragments of memory. Its streets and buildings, its ruins and reconstructions, speak louder than any individual voice. But the city is not only seen — it is heard. Its soundscape becomes the deeper narrative, the pulse beneath the image.
The city is read as topography — a map in flux, marked by shifting borders of control, layers of rubble and scaffolding, zones of habitation and zones of abandonment. Satellite images dissolve into shaky phone recordings; promotional clips overlap with whispered testimonies. The city becomes a palimpsest, where destruction and construction exist side by side, each erasing and overwriting the other, yet never fully succeeding.