Jan Bidlas

Set in Czechoslovakia, the drama follows the lives of its characters against the backdrop of real historical events that shape their personal stories. To evoke period atmosphere, the series intersperses authentic clips from vintage Czechoslovak film newsreels, using their original commentaries or newly recorded historical voice-overs by Vladimír Fišer. A narrator, initially voiced by Vojtěch Kotek and later by Matěj Hádek, provides continuity and reflection, guiding viewers through changing times. Under the guidance of screenwriter Rudolf Merkner, each episode’s script weaves family and individual dramas into key moments of Czech and Slovak history: political shifts, cultural trends, and social transformations from the 1960s onward.

A Prague police unit reopens time‑critical cold cases before the statute of limitations runs out, pairing a seasoned loner with a principled young detective to re‑examine old evidence and pursue new leads across real city locations.

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Czech Century brings the key moments of the history of the Czech nation from 1918 to 1989.

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This series from the regional homicide department in Hradec connects episodic cases with a larger central mystery—the unsolved case of a woman shot dead on the shore of a pond. This plot connects the individual episodes and gradually reveals that the perpetrator may be closer than anyone thinks.

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At the end of the XIX century in Russia, Prince Dimitri Necklivdov is called as a jury-man in a trial. The defendant is Katiuscia Maslova, accused of murdering a merchant in order to rob him. Dimitri recognizes Katiuscia: she was the girl he seduced many years before. Dimitri decides to save her.

Eleven disparate adolescents, gathered for a skiing camp at an isolated winter resort, find themselves preyed upon and set against one another by their three mysterious instructors.

"A documentary anatomy of mass murder for one monitor and 34 talking heads." These are the words the filmmakers use in the credits to describe their project, which thematises the execution of more than 260 Carpathian Germans, Hungarians and Slovaks by Czechoslovak army soldiers near Přerov in June 1945. The “massacre at Přerov” is made present through a minimalist dramatisation of the interrogation footage of direct participants, eyewitnesses, and others. It is as if the characters of ancient theatre were entering the Zoom “stage” and delivering a tragic message of fear, hatred and disinterest across the chasm of time.

Teenager Kristina Kleinburger, daughter of the commander of a concentration camp, arrives from bombed-out Berlin to visit her parents, whose life represents a world of harmony and peace for her. Her parents try to reinforce her illusions with ballet lessons, which are to be given by a former Hungarian prima ballerina. In a single day, contrary to the intentions and plans of her father, a typical German officer, Kristina's ideas and illusions about her parents' society and the security of home collapse, and the whole perversity and monstrosity of the German war and totalitarian mechanism emerges before her with tragic inexorability and the echo of the approaching end of the war. The story, setting, and characters of the film are fictional, only the tragedy of their fates is real.

On the eve of May Day, a Prague actor’s insistence on “doing the maypole right” sparks a drunken village bet and regretful hangovers as tradition and hometown pride collide.

In a Czech school friendship grows between a teacher and a student. The friendship turns into an intimate relationship. Till the student begin to blackmail the teacher.

As the name suggests, the movie is about football. It is not about big league soccer, making huge money. It is about football, which lives just from village fans enthusiasm, from the enthusiasm of fathers and their sons and club officials. And yet on this battlefield, where the pub and silent household alternates, it is often about everything: friends, family, the meaning of life. It is about playing fair, but also about fighting below the belt. It is about winning, but also about falling into the abyss of the league wilderness.

New recording of the most succesful play of Prague's National Theater starring Miroslav Donutil. Goldoni's comedy "Servant of Two Masters" is typical example of classical "commedie dell'arte". Beatrice arrives in Venice dressed as her brother who was killed by her lover Florindo. Florindo also escapes from Tourine. Beatrice hires Truffaldino, a servant who also lets himself be hired by another master to get twice as much money and food. The second master is indeed Florindo, who coincidentally accomodates in the same hostel as Beatrice...

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