Marta Kubišová

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Theodora Remundová’s documentary portrait looks at Iva Janžurová’s dramatic and comedic roles in both film and theater, as well as the roles she has played in her family and in social and political life. The director (Janžurová’s daughter) has created a film filled with the truthfulness, sincerity, and capacity for self-reflection of a woman who has devoted her life to acting. The use of clearly staged scenes is combined with an openly acknowledged effort to avoid the kinds of clichés usually found in biographical documentaries to create an organic whole that provides an overview of Janžurová’s pivotal roles while also sharing highly personal and intimate moments from her life. Vít Kořínek (kviff.com)

In a Prague shop, an assistant has been carrying on an affair with the dishonest, married manager. An emotionally repressed auditor with domestic problems of his own uncovers serious stock discrepancies. A test of loyalties and a questioning of values concludes in tragedy.

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Getting into the popular music spotlight is not easy, as even an enthusiastic amateur, an overconfident young man whose singing career soon fails, will find out... A tantalising insight into the backstage of the entertainment industry, neither the musical passages nor the unexpectedly massive participation of the singing stars of the time succeeded.

It is the 1930s. Physician Bartos devotedly attends poor patients in the city suburbs, at the same time researching the possibilities of regeneration of human tissues after transplantation. His former colleague Rosen, now working as an assistant at the private clinic of surgeon Kirchenbruch, considers the research a mere utopia. The disappointed Bartos, trying to verify his theories, therefore accepts the outrageous proposal of Marion, owner of a brothel - to surgically replace the face of her lover, the wanted thief Cutter, with the face of murdered Father Hopsasa. Bartos is well paid but his successful operation remains a secret.

Kameňák 2, inspired again by well-known and less well-known stone jokes (director Zdeněk Tročko received an incredible sixty thousand of them from the audience!) directly follows the first part, which ends with the gushing of a blue erectile spring from the rock at the Kameňákov castle. The miraculous effect of the blue spring on potency causes an unprecedented uproar in the town, and even old Kropáčková experiences its beneficial power. However, as suddenly as the spring appeared, it also disappeared. But did it really disappear? And where? The insidious granny Kropáčková knows this best, who in the second part becomes a terror to the young men in the town. The disappearance of the blue spring of a lucrative business has not let even the local mafia sleep. All traces lead unmistakably to the Kropáčková house in the manor house...

The exemplary accountant Antonín Safránek lives his orderly life as a citizen of a small town. His wife Eliska brings up their three children and desperately tries to get by on her husband's low salary every month. At the same time, she sadly watches the luxurious life of their neighbor and other people like him who have no qualms about improving their standard of living by cheating. One day, the infallible Safránek makes a mistake in the cash clearance and there are nine one-hundred Crown bills left in the safe. An unexpected company control carried out the next day passes without problems and the account is closed. The temptation is too strong. The insufficient control enables Safránek to gradually steal one million Crowns.

Taking a cue from Franz Kafka's "Letter to My Father," this highly personal film follows Czech director Jan Nemec as he attempts to engage in a dialogue with his deceased mother. While alive, Nemec's mother had a troubled relationship with her son; this rumination seems to be Nemec's public platform for coming to terms with unresolved familial issues. The director embellishes his film by linking personal events with 20th century history.

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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?

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