Five October

  • December 20, 2017 / 17:00
  • December 29, 2017 / 19:00

Director: Martin Kollár
Slovakia, Czechia, 2016, 50', color
Slovak with Turkish subtitles
 

The protagonist of this quiet picture is the director’s 52-year-old brother Ján Kollár, who learns that he needs to undergo a hazardous procedure with only a 50-50 chance of surviving. Ján takes his bike and a minimum of equipment and sets out on perhaps the last journey he’ll ever take when he can essentially do everything exactly the way he wants. The only limitation is the day set for his operation – October 5th. With its refined imaging, the visually precise movie bears witness to the physical and spiritual wanderings of a man in a crucial life situation. Employing sensitivity without pathos, the director records Ján’s struggle against fear and his sincere effort to stand face-to-face with his circumstances and find reconciliation. Ján commits his thoughts and feelings to a journal, excerpts of which serve as a formal element in this contemplative, powerful film.

Daisies

Daisies

Escape from the ‘Liberty’ Cinema

Escape from the ‘Liberty’ Cinema

The Garden

The Garden

Conspirators of Pleasure

Conspirators of Pleasure

Afterlife

Afterlife

Free Fall

Free Fall

Goat

Goat

Five October

Five October

I, Olga

I, Olga

Communion

Communion

Little Harbour

Little Harbour

On Body and Soul

On Body and Soul

Photon

Photon

Trailer

Five October

Symbols

Symbols

Pera Museum’s Cold Front from the Balkans exhibition curated by Ali Akay and Alenka Gregorič brings together contemporary artists from Albania, Bosnia and Herzegovina, Bulgaria, Croatia, Kosovo, Macedonia, Montenegro, Romania, Serbia and Slovenia.

Turquerie

Turquerie

Having penetrated the Balkans in the fourteenth century, conquered Constantinople in the fifteenth, and reached the gates of Vienna in the sixteenth, the Ottoman Empire long struck fear into European hearts. 

Marcel Duchamp’s Bicycle Wheel

Marcel Duchamp’s Bicycle Wheel

In 1998 Ben Jakober and Yannick Vu collaborated on an obvious remake of Marcel Duchamp’s Roue de Bicyclette, his first “readymade” object. Duchamp combined a bicycle wheel, a fork and a stool to create a machine which served no purpose, subverting accepted norms of art.