Jan Němec

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Successful surgeon Tomas leaves Prague for an operation, meets a young photographer named Tereza, and brings her back with him. Tereza is surprised to learn that Tomas is already having an affair with the bohemian Sabina, but when the Soviet invasion occurs, all three flee to Switzerland. Sabina begins an affair, Tom continues womanizing, and Tereza, disgusted, returns to Czechoslovakia. Realizing his mistake, Tomas decides to chase after her.

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Young director Honza David films the Russian invasion in in Prague in August 1968. With Eva the love of his life he tries to get out of the country. He wants to bring the explosive material to Vienna, to the director of the Austrian Television Helmut Zilk. He knows Eva very well but the Czech Secret Service even better ...

Television series Golden Sixties examines new insights into Czech and Slovak cinema of the 1960s and the role of the Czechoslovak New Wave. Each episode focuses on a different filmmaker.

A group of the bourgeois head for a prominent figure's birthday party. As they venture through the woods and have a picnic, they're suddenly surrounded by some suspicious strangers.

A neon heart installed above Prague Castle illuminated the city for the last three months of Václav Havel’s presidency in an artist’s tribute to his extraordinary service. His last major undertaking was hosting the NATO summit in 2002 and Němec was granted extraordinary access to film it. Set to make a “special poetic film”, it took Němec years to process what he had witnessed – George W. Bush creating an alliance to invade Iraq. It may then be the director’s revenge to point his camera lens democratically at everyone involved with the summit, giving the same screen time to kitchen and waiting staff, musicians, security detail and NATO protesters, as to the heads of states and attending dignitaries. Havel however, became as much of a subject as the president on screen, and the film’s narrator, providing commentary in his own voice from the distance of a few years after he left the office.

The construction of the new dam deprived the ferryman Ryba of his trade. The new dam replaced the ferry. However, Ryba's ancestors were ferrymen and the old man would have liked his two sons to take up the same profession. But Joseph is an indecisive weakling and Karel found work on the dam. That's why old Ryba drove him out of the house. The persistent rain brings Ryba miserable joy. The man knows well that a sudden flood can endanger the unfinished dam. In his fanatical hatred, he forgets that the water from a broken dam would sweep away his house and his daughter-in-law and sick grandchild in the first place...

Two Jewish boys escape from a train transporting them from one concentration camp to another. Beyond themes of war and anti-Nazism, the film concerns itself with man's struggle to preserve human dignity.

A lonely woman gets more than she bargained for when she begins wooing Mr Devil, an insatiable glutton who turns out to be the boyfriend from Hell.

Ester Krumbachová - a costume designer, screenwriter, director; one of the boldest personalities of the Czech New Wave. She worked in theatre, she was a writer and an illustrator. She co-created films such as O slavnosti a hostech (1966), Sedmikrásky (1966), Vsichni dobrí rodáci (1969), Pension pro svobodné pány (1968), Valerie a týden divu (1970), Slamený klobouk (1972) and many others. In the 1960s, she was a 'pivot' of the art scene in Prague, attracting artists who were on the threshold of their career, just setting out to find their own form of self-realization. Those who underwent her tutelage remember her forever. Director Vera Chytilová talks to those who knew Ester Krumbachová, who worked with her, befriended her, loved her. She sets off on a search that is to end by answering the question: Who was Ester?

Set in a village, the story of a simple-minded, not-so-responsible young man who still manages to take care of his younger siblings after their father has left the family. Good thing he could lean on the principles of exemplary socialist morality. Not surprisingly, the attempt to capture something of the mentality and conditions of the contemporary village breaks down into simple, poster-like lessons.

The sincere and innocent amorous outburst of a mining apprentice clashes with the insensitive misunderstanding of adults...

Three loosely-connected tales that represent different aspects of love: temptation, dreams, and adventure.

Two stories from the lives of border guards. In the story "The Pursuit", an experienced border guard and his young and inexperienced colleague follow the tracks of ski boots in a snowstorm. The second story, Wandering, is about a frontiersman whose wife wants to go inland with their child.

The subject of this film, which takes an analytical look at the life of all of us with an analytical eye, is the evil microbe that has slowly infiltrated the organism of the Czech nation. Through the intertwining fates of three couples, it evokes domestic life before November 1989, burdened by a suffocating atmosphere of unfreedom, and after November, when relatively nothing has changed because people have not changed. The bleak conclusion suggests that the plague epidemic is still ongoing.

A visit to Prague by the most powerful man in the world coincides with Jan Němec's heart operation. He captures both events in a philosophical video diary, in doing so reporting on what is probably the most important day of his life.

It's nighttime in Prague, 21 August 1968. Soviet troops and tanks are occupying the city - random attacks, soldiers shooting, bodies lying dead on the sidewalk. With an impromptu crew, the director (Karel Roden) captures some unique evidence - material which is, however, worthless in occupied Prague; it has to be shown to the rest of the world. So, while the Soviets are concocting false reports of heartfelt receptions without military resistance for propaganda purposes, the director sets off on a risky trip across the closed Czech-Austrian border to Vienna.

A unique document of the 1968 Soviet invasion of Czechoslovakia, what began as a documentary about the liberalization of Czechoslovakia evolved into a record of the entry of Russian tanks into Prague.

Based on a novel by Maria Majerova, this well-photographed but routine romantic drama is directed and co-scripted by Vaclav Krska. Set in a more old-fashioned time, the story centers around Lenka (Suzana Fisarskova), a young woman with a domineering, psychologically abusive father. When Lenka falls in love she suffers the ultimate injustice when her father and her family forbid her to marry the man. They see no advantage in such a union and want her to marry a wealthy local landowner instead, for obvious reasons. But Lenka is not as submissive as they think and she runs away to the city to look for the man she loves -- only to find a serious problem, though a surmountable one, is waiting for her.