Ivan Vojnár

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From the behavior, discourse, and appearance of individual actors, Vachek composes, in the form of a mosaic, a broad and many-layered film-argument about Czechoslovak democracy in the period of its rebirth, all administered with the director’s ini­mitable point of view.

The Šumava Mountains hide buildings lost in the mountains, the Vydra River, a church, a rectory, marshes, a post office, a gold mine, and a hermit's hut. In this environment, the fates of the beautiful girl Anna, a tormented widow, her perpetually drunk husband—a postman—and dentist Holoubek, who left his native Vienna, intertwine. Over the course of the year, their paths cross, but then the summer of 1914 arrives and war intervenes decisively in the lives of all those involved... However, the characters' desires and quests are timeless.

Luisa and Erika are prototypes of young women who plunge into relationships with the "wrong" men. Luisa wants to become an actress, which upsets her husband Igor to no end. Erika is trying to work as much as possible so that she can afford to study and thereby achieve a better outlook on life, but she unfortunately runs up against a boss who doesn't have the best intentions with her. Ultimately Luisa's husband demonstratively commits suicide. Erika accidentally kills her boss in self-defense... The women blame themselves for all these failures, and that has got to change. Both have to grow up and start living again. Perhaps even together.

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.

The stories of all the characters are linked to the fate of a media-successful married couple. The film is an account of life in a Central European metropolis, from which humanity and spiritual values are disappearing as a result of a hasty lifestyle. Vera and Daniel's marriage has been deadlocked for a long time, Vera is at the end of her career as an actress and Daniel prefers to hang out with younger girls than with his own wife. In addition, a young Macedonian woman, Liana, enters their family and Vera finds a part of herself in her. Parallel to Vera and Daniel, Eva, a nurse, and Martin, a designer, are looking for a place in life.

Pavlina is a drug addict imprisoned, as well as her boyfriend, for illegal drug manufacturing. They meet again after the amnesty and the vicious circle of drugs starts rolling again.

Film makes the creative process visible by letting its narrative flow in the mind of a foreign director who is researching a film about Franz Kafka in Prague. Based on the principle of dreams and free association, segments unfold that deal with the various points of view that Kafka's work, personality and fate offer. In the labyrinth of his mind, the fictional director projects himself into situations from the author's life, with Kafka himself as his guide. At the same time, he delves into the history of the persecution of the Jews and glimpses the monstrosity of the bureaucratic apparatus that Kafka anticipated but could not have foreseen the monstrous size and function it would grow to a few years after his death in the institutionalized genocide and overall machinery of Nazism.

An artist's studio is descended upon by a group of retired men and a young mother who agree to model in the nude for money. Comedy ensues as the students and the local bureaucracy react to the models, all in need of extra money. Several running gags border on slapstick as the officials and the students don't know what to do with the nude models.

In the story of two generations searching for a fixed point in their lives, the film offers a reflection on the possibilities of escaping the reality of place, time and human responsibility. In a narrative between fiction and documentary, the past and the present are intertwined, and events both lived and written. The film takes advantage of the atmosphere of Ústí nad Labem and the unique possibilities of the Drama Studio of that time. It is linked to the theatre by the actor Jiří Schmitzer, who was a member of the ensemble for ten years, as well as the actress Jitka Prosperi and Miroslav Bambušek, who was a guest director and author there. However, the actors who also appeared on the stage of the Drama Studio were Čerčil's representative - former stage technician Zdeněk Novák, former wardrobe mistress Petra Poláková and inspector Ester Hocke.

This documentary-style story tells the story of an aspiring documentary filmmaker who is preparing a film about the history of glassmaking. He is honestly gathering information, slowly getting closer to an unknown and not always accessible environment, to people, whose actions he often doesn't understand because he misses their motivations... Shards for Eva is certainly not a skillfully wrought work, but it certainly impresses with its sense of at least partial capture of everyday reality.

Anny follows the life of the titular, intriguing character for 16 years, from 1996 up until 2012. Living in the Czech Republic, Anny is a 46-year-old woman whose day-to-day life has consisted of several different occupations, from a bathroom attendant and a doorman, to occasional sex work. Her outlook on her jobs is fairly simple, you have to do the work if you want to eat, spoil your grandkids, or buy yourself new clothes.

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Showing his own original footage of Prague Spring, director Evald Schorm describes the atmosphere these days in 1968.

An aristocratic woman suffers a severe nervous breakdown and is subsequently institutionalized following a disastrous infidelity. She descends into madness while grappling with intense psychological torment and the fallout of her social and personal life.

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A poetic melodramatic documentary inspired by the death of Jan Palach. The footage from the funeral is accompanied by the words of Maxim Gorky's Old Woman Izergil (On the Flaming Danek's Heart), sung by Kühn's mixed choir, solos by Milada Sýkorová and Jiří Němeček. The apotheosis of a leader who sacrificed himself to save his people, warning of the cowardice of the crowd.

"The whole film talks about the time when I was first locked up, from sixteen till now, I’m 22 now, and during that whole time I was out maybe five months, and I’ve really had it by now. It’s also about why I’d given my life to Jesus Christ and then failed that Jesus in me because I was tempted by earthly pleasures; and it’s also about how every time I’m ready to start a new life, I get locked up again because it’s always too late. It’s just too late. That’s the greatest shame and that’s what it’s about..."

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