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Freedom to Create, 67 min., HDV, 2011
Evaldas Jansas documentary film “Freedom to create” is about the prisoners, creating in places of detention. The film director listens attentively to the prisoners’ stories, where the leitmotifs of mistakes made in life, punishment and creative work, serving as a form of liberation, intertwine. Showing the world through the eyes of prisoners or social underworld, Jansas puts the spectator into such a context, which we normally do not want to know anything about – he treats us with a full-length portion of rich and specific contradictory reality not wrapped into glossy ideological paper, without imposing one truth or any in advance prepared responses. |
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"Sound Track", 40 min., HDV, 2009
This tricky musical documentary captures the director’s search for an idea of the proper soundtrack for his film. With a handful of diverse musicians, composers, producers and critics featured, the work effectively becomes an understated ode to Lithuania’s newly burgeoning music scene. Yet there is also a catch: the very abundance of options makes it nearly impossible to choose one, so the only actual soundtrack can be the documented soundscape of the search itself. The director is left standing on the “naked shore” mentioned in one of the songs, obsessively gathering pebbles and seemingly having lost a sense of direction. |
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"Quote", 1:33, HDV, 2009
"Creative work means balancing on the very edge of an abyss, on the edge of tastelessness, banality, vulgarity, amorality, literariness, joke, kitsch etc..." Šarūnas Sauka |
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"3 in 1", 5:46, HDV, 2008
Scissoring pictures of naked women, hearing gossiping on an unlucky neurosurgeon, viewing of a weather-forecast-lady pointing at a huge brain projection. Views and sounds merge provoking curiosity and versatility of interpretation: the movie is a mixed brain of a modern person, a mescal, an ironical view of the pop culture and its critics. |
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"To Be on Show", 11:20, DV, 2006
The creation of Evaldas Jansas “To Be on Show” („Būti išstatytam“) can be hardly applied any specific genre characteristics. Here one may find documental shots of Vilnius city detailed plan presented to the society, and day-to-day life of psycho-neurological pension home inhabitants with the intertwined “faked-up documentary” i.e. – the acted scenes and computer-edited effects. The entire plot of a tragic and auto-ironic fiction is accompanied by the narration of a stuttering hero, how he finds himself in a lunatic asylum. |
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Anthology of Satisfaction
1’47, DV, 2006 The narrative of the film is based on a very ‘personal story‘ of the artist (it could be fictional or not), and his reflection to the advertisment mediated society. The video work is constructed of documentary and animated images, which stimulate a comic, ironic, and farce like perception. The story by the artist is told in a particularly sincere manner, which reminds the strategy of suggestibility used in advertisement. It makes a contrast with abjective images (inversion of advertisment strategies) and knocks out of experiencing the usual satisfaction. The question is: is it a contemporary capitalism which laughs at me, or it is me, making parody of it? |
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Anthropology of Fake Documentation: Violence
04:58, DV, 2004
The author documents performers experiences on video performance in "Lynch law". |
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Anthropology of Abuse
04:54, DV, 2004
Author explores the notion of film-making as shooting by deliberately choosing to film people who are not willing to be filmed. The film is a fast montage of opinions, which, very literally, provokes the author’s comparing with the abuser. The next step he does – E.Jansas leaves the camera behind and takes a gun. |
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DŪJIS (Prick) 21 min., DV, 2001 These are the scenes from the routine life of junkies. The author without any scruple, with the cool glance of his camera snap-shoots pricking with syringe, collecting of poppy "milk" in the gardens, and primitive production of hand-made drug. The film is followed by an off-slip naive story of a young girl, who left her school and had no courage to speak into the camera. She tells the story about the adventures of junkies life and misfortunes of her friends. The story ends with her dream to buy a wide-screen TV. |
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Personal Code: Consent
05:59, DV, 2000
The video work "Personal code" documents the artist’s visits to the bureaucratic institutions trying to acquire the official permit for a child to travel abroad, to write an official apology for committed criminal offence and getting the warning for "inappropriate behavior" while on probation. It is filmed using stable camera, capturing fragmented images and conversations with the employees of the institutions as well as formal procedures."The associability of this artist, publicly acknowledged in the video "Personal code"is real and inevitable, therefore completely organic and fundamental message of this work is critical and ironic; it refers to the absurdity of bureaucracy and the consideration of a person just as a set of formal numbers filling the system" |
