Camera
A dramatic story of a mother and daughter set in the late 1980s. The film tells the story of Lilian, a young mother whose life has not been easy. She has an intellectual disability and, to make matters worse, suffered a traumatic assault during her adolescence. The relatively idyllic life she shares with Mrs. Holasová, who cares for both Lilian and her young daughter Malvína, is shattered by the death of the eldest member of this three-generation trio of women. Lilian and Malvína’s lives are thus turned upside down literally from one moment to the next.
Thirteen-year-old Marek shoots videos on social themes, making him an outsider among his classmates. At home, his peaceful relationship with his mother is disrupted by his mother's new acquaintance. In the most sensitive phase of his life, Tereza enters his path.
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This documentary is the first report on videotherapy, a new and unexplored branch of psychology in Bohemia. The director has lent a camera to a psychiatric hospital pacient to let him record the images of his own world.
The Defenestration of Prague, which took place on May 23, 1618, was the decisive historical moment that unleashed the Thirty Years War (1618-1648) between several Catholic and Protestant states and changed the course of European history forever. (Additionally released as a heavely edited historical documentary entitled The Defenestration of Prague, 85 min.)
Kinetopsia, a disorder in which one believes that static objects are in motion, serves as a metaphor for the social situation we find ourselves in: the Velvet Revolution took place thirty-five years ago, and while the opaque present continues to bring new problems, public discussion often still revolves around the hunt for the "spectre of communism". From the perspective of a young couple, we discover the fascinating project of Sylvia's abandoned Discoland and become aware of the critical moments of the political transformation that has determined the economic and cultural conditions in which we live today.
With its rich silver mines, the medieval town of Jáchymov had given its name to the dollar. A few centuries later, the town gave face to the horror of Soviet terror in Central Europe. The film tells of the second and terrible face of the old and idyllic spa town of Jáchymov in the uranium-rich, Bohemian Ore Mountains - a small town that survived despite communist labor camps for Soviet atomic bombs.
The story of a barely grown man who lives as a fresh postulant before vows in a community of monks. He not only shares with his brothers their world of contemplation, but also, as a link in a long chain, he takes those persecuted by the communist regime across the border to Germany. On one night's return, he witnesses a ruthless crackdown on a group of students fleeing from a nearby village where they had been on compulsory work experience. And not only that: that night, a community of monks is also liquidated in Action K (April 1950), and the returning Christopher witnesses their transport without being able to help his comrades.
Slovak musicologist Agata Schindlerová, now settled in Dresden, has spent years mapping out the forgotten destinies of Jewish musicians whose lives were irrevocably marked by the advance of nazism. Scenes from the lives of several of them are portrayed in the film In Silence (ballet dancer Alice Flachová, pianist and conductor Karol Ebert, composer, conductor and director of the Dresden Theatre Arthur Chitz, pianist Edith Kraus, and the vocal ensemble Comedian Harmonists), which draws a sharp contrast between the protagonists’ carefree existence working and making music during the pre-war era and the subsequent severe upheaval in their lives brought on by the proliferation of nazism.
Frantisek is a deaf man who has spent years in prison for the apparent murder of a man he believed was threatening his then girlfriend, Liza. Once released, Frantisek begins to search for Liza, but the task proves harder than he hoped.
A collage of influences, spoken sentences, deeds, traces, and appearances of the Brno poet and prose writer Jan Skácel. Contemporary cultural figures regard the author as a social and cultural phenomenon. The directors of this documentary, on the other hand, decided to treat Jan Skácel as a subject of literary and social history, whose role in the cluster of regime and cultural events is unwavering and often – nowadays – glorified or otherwise embellished. In the film, they attempt to distance themselves from the established ideas about Jan Skácel and, at the same time, from past interpretations of Jan Skácel’s work. Instead, they interpret him through their own series of images.
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.
A children's film about the largest mass suicide of the 20th century reconstructs the 1978 event. The Reverend Jim Jones forced nearly a thousand followers of his People's Temple sect to drink poison in the settlement of Jonestown, Guyana, South America. A third of them were children. Jan Bušta gives sadists, voyeurs, and necrophiliacs one minute to leave the cinema. His self-reflective documentary, which is the result of ten years of time-lapse filming, does not depict dramatic scenes. To the sound of an audio recording from that fateful day, we see a collage of child ghosts preaching about escaping the corruption of the world.
The feature film by visual artist Tomáš Svoboda is not about film. It is not an essayistic reflection on the moving image. It is not a comical story from a summer afternoon. It cannot be perceived as a record of a work process. It is not even a retold film. And it is certainly not about the technology of filmmaking. It is about life.
