Enter your email Address

Fest_25_carre_retina
Fest_25_carre_retina
Make a donation Press
Fest_25_new_retina
  • La Jetée

    Clermont-Ferrand

    • Documentation Center
    • Regular Events
    • Short film screenings
    • Training
    • Seminars
    • All Shorts
  • Short Film 31 JAN. > 8 FEB.

    Festival

    • Participate
      • Overview
      • Submit a film
      • Become a volunteer
      • Student Juries
      • Survival guide for newcomers
      • Professionals
      • Ticket Office
    • Discover more
      • Catalogues
      • Festival Newsletter
      • Prizes 2024
      • Le Trombino
      • Code of conduct
      • Our commitments
      • La Brasserie du court
    • Useful information
      • Coming to Clermont-Ferrand
      • Accomodation
      • Restaurants
      • Festival Locations
    • Archives
  • Short Film 3 > 6 FEB.

    Market

    • Overview
    • MEDIA Rendez-vous
    • Euro Connection
    • Shortfilmwire+
    • Participate
      • On site
      • Remotely
    • Pro Reception Desk
    • Prepare my visit
  • Short Film

    Circulation
    • Circuit Court
    • Screen festival programs
    • Plein Champ Network
    • Shortfilmdepot
  • Short Cuts

    Professionnalisation

    • Residences
    • Training
    • Support
    • Workshops
  • Education and

    Training
    • Upcoming events
    • Actions
      • Young audience screenings
      • Educational workshops
      • Anatomies
      • L’Atelier
      • Young critics competition
        • Young critics competition 2018
        • Young critics competition 2017
      • Ciné en herbe
    • Devices
      • Culture at the hospital
      • Culture in prison
      • Kindergarten at the cinema
      • High school at the cinema
      • Cinema sections
    • Training
      • Short Film Festival
      • Teaching cinema
      • School and cinema
      • Middle school at the cinema
      • High school at the cinema
      • Cinema sections
      • PREAC cinema
      • MIRE / ESPE
    • Resources
      • Educational tools
      • Transmission impossible
      • Le fil des images
      • Transmettre le cinéma
      • Ressources by film
      • Côté Court – LDVTV
        • Côté Court 2019
        • Côté Court 2018
        • Vu en court 2017
        • Vu en court 2016
        • Vu en court 2015
        • Vu en court 2014
        • Vu en court 2013
        • Vu en court 2012
  • Our newsletters
  • News
  • Archives
  • About us
  • Team
  • Partners
  • Advertisement

© Sauve qui peut le court métrage

Legal Mentions | Privacy

  • FR
  • EN
  • Breakfast with Proch

    4 February 2018
    Festival, Meeting with…
    By Clotilde Couturier
    • proch

     

    An interview with Jakub Radej, director of Proch

    la mouche cf What made you think of making a film that deals with the first moments after death?
    I don’t know. There are always several reasons that lead you to make a film. When I was about six years old, I went to my uncle’s funeral in his village. The coffin was open and the body was presented in the living room. Every neighbour and family member could bid farewell to uncle Bogdan and even touch the body. It was an opportunity to see him one last time. Nowadays there is no such possibility. People die in hospital, they are hidden, taken from their hospital bed, and at the cemetery we see only a box with ashes. I also thought a lot about the value of human life. The reason why we are here. And what we leave behind after our death. When you think too much about final matters you end up making a film like this.

    la mouche cf How did you shoot the ambulance scene? Were some sequences shot with a cast or was everything real-life?
    We just attached the camera to the car to have good stabilization and waited for a call. But we didn’t want to be a danger to anyone’s  life, so we were ready to get out quickly. We didn’t want to disturb the work of  the paramedics or the person needing help. One scene was “staged” for us, because there was no permission for real-life shooting, but the people in front of the camera were real. On the film they do their everyday job on the location where they normally do it. And we set it exactly the same way as we (me and the DOP) had seen it with our eyes the day before.

    la mouche cf Can you tell us about the character who is placed in a coffin and whose goods are put up for auction?
    She’s a lonely person, without a family. After her death, the city takes care of her goods and belongings, the coffin, the funeral. There is a specific procedure. The whole film is about people like her. It isn’t important what her name is and where she lives. For me she was every man, like myself.

    la mouche cf Why weren’t you interested in the immovable, the living space, the rooms that were emptied of their people and objects?
    I didn’t show what happen to these places because that would be about their new life. I wanted to focus on the “life” of my protagonist. The flat is emptied, there is no trace left of the person who lived there.

    la mouche cf Did you want the film to be entirely contemplative? How did you work on the sound? 
    We recorded hundred per cent of the sound on location, and kept an eye on it in postproduction. Great sound postproduction experts Tomasz Dukszta and Jan Chojnacki helped us make the sound dehumanized. Like a working factory. That was the key to sound and storytelling.

    la mouche cf What sort of freedom would you say the short format allows? 
    I don’t have any experience with the long format, but in my opinion in short films you have to be more precise with narration. All frames should be important. But you can do some crazy stuff which in full length would be unbearable.

    la mouche cf If you’ve already been to Clermont-Ferrand, could you share with us an anecdote or story from the festival? If not, what are your expectations for this year?
    This will be my first time at Clermont-Ferrand. I hope to meet great filmmakers. I hope a lot of people will see my film, and if they spend a minute in silence, with deeper thoughts I will be completely happy. It will be my first international festival with this film, so I am really curious about how people will feel about it.

     

    Proch is being shown in Lab Competition L1.

    clermont-ferrand, competition
    Networks
    Recent posts
    • 2025 Panorama: geographical focus

      6 November 2024
    • 2025 panorama: Theme in focus

    • 2025 OST Challenge

    • Clermont-Ferrand Short Film Festival unveils 2025 poster

      19 September 2024
    • 23rd Lab Competition

      17 December 2023
    • 36th International Competition

    • 46th National Competition

    • 2024: A singular edition

      16 November 2023
    • Kickstarter x ClermontFF

      3 November 2023
    Blog
    Breakfast avec Three Room (Trois chambres)
    Clermont en court – episode 1
    0
  • FR
  • EN
  • Ville de Clermont-Ferrand Département du Puy-de-Dôme Clermont Métropole CNC Ministère de la culture et de la communication Région Auvergne-Rhône-Alpes Europe Media
    All partners
    Clermont ISFF | Breakfast with Proch | Clermont ISFF
    class="post-template-default single single-post postid-29784 single-format-standard samba_theme samba_left_nav samba_left_align samba_responsive fl-builder-2-8-6-1 thvers_104 framework_99 wpb-js-composer js-comp-ver-7.7.2 vc_responsive"