Dominik Dolejší

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30 years of freedom = 30 authors = 30 minutes of films. A unique project of Reflex magazine and Czech Television, which in honor of the 30th anniversary of the Velvet Revolution reflects many forms and understanding of freedom. Various personalities of the Czech cultural sphere have made their minute films.

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Czech painter and illustrator Alphonse Mucha (1860-1939) ranks among the pioneers of the Art Nouveau movement at the end of the 19th century. Virtually overnight, he becomes famous in Paris thanks to the posters that he designs to announce actress Sarah Bernhardt’s plays. But at the height of his fame, Mucha decides to leave Paris to realize his lifetime project.

This darkly grotesque drama unfolds on multiple paths. The tangible one, now cruel, now crazy, along which the nomadic actor "Dad Mour", his wife "Mum" and two sons try to return home, but also the imaginary one, even more, tortuous and dusty, on which the often impressive mental youth (or immaturity, a scrooge might say) is welded with life circumstances forcing the protagonist to wise up. An anxious and exuberant cinematic faerie about love, the fear of loneliness and the gaze of sons fixed on their fathers.

The film tells the life story of its director, Jan Nemec, one of the most known and important filmmakers of Czech New Wave.

Incomplete thoughts and fragments of dialogue, diverse music interrupted by rushes and glitches, and the seemingly confused, unanchored camera, create a disturbing, philosophical reflection on the limits of anthropocentric thinking.

The architects' plans for Central Bus Station to swallow visitors has turned into an endless maze of corridors. Once a gift to the citizens of Tel Aviv now serves to the immigrants. Yonathan has been a guide there for 17 years and is able to show the other side of the station's significance to those who walk with him. Yonathan knows that the purpose of going down to the building is to find not only himself, but also a society that harbours its values, protects its original traditions and wants to defend its home.

Liebe. What begins as a trivial romantic etude about the lives of four young people who arrive on the island of Rügen to shoot a film about love gradually descends into a vortex of mutual suspicion, self-accusation, recriminations, and animalistic sex. When one of the two girls apparently drowns in the stormy waves of the Baltic Sea, the fates of those involved head toward an unexpectedly dark climax. The mysterious drama Liebe is a tribute to the goddess of cult and pagan times, when gods themselves entered into people. Whether they wanted it or not.

Jaroslav is a handsome and seemingly good-natured son, father and decent husband. But in fact he is pathologically jealous of his wife Blanka and very much afraid that she will leave him one day with their three children. Jaroslav and his family do not hesitate to employ violence, deceit and terror against others, which ultimately leads to a family tragedy.

Oscar, a digital hipster, dives into the fantastic world of analogue loving projectionists. It’s not as easy as it might seems, one may even get hurt! The documentary is about the dying culture of 70mm material and the last mohykans, who aren’t afraid of fighting for their beloved film copies and feed the hungry old projectors with them.

In the comedy Party Harder: Summer Massacre, a group of friends from the first part will return. They have already recovered from their terrible party and in the summer they will go to the "Ibiza of the East" - to the Macháč lake, which is a legendary place full of parties, music and free sex. They are trying to earn money for the golden nail of the summer - the Summer Massacre festival, from which they promise the experience of a lifetime and, of course, holiday sex. Will they enjoy the summer or fail miserably and face humiliation, involuntary celibacy or even Serbian militias?

The world I believed in is slowly disappearing. It started with crucifixion and the end of matriarchy. Since then, the powerful have been murdering in the name of good. The end of matriarchy and crucifixion. Symbols of ruin. I am an old, tired, white, heterosexual macho man. I received a photo from my deceased friend, a gay man. A photo of a beautiful naked girl. I took advantage of it, undressed eleven beautiful girls, and made a film.

When the junior ice hockey team from the small town of Náchod, in the Czech Republic, sets off in a bus to Morocco to play the away game in an exchange programme, the players and their coach expect an easy victory and a cultural shock: “bring ear plugs”, the coach suggests them with a touch of undisguised condescendence, so as not to hear the call to prayer early in the morning. Both on and off the ice, Rozálie Kohoutová and Tomáš Bojar’s camera focuses on a few teenagers and their exchanges, simultaneously funny and cruel, in a clumsy English.

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No description available.

Even after more than 25 years since the dreadful war crimes had been taking place in former Yugoslavia, this tragic history is far from over – be it for the victims’ families, conflicting nations or for a Czech investigator who comes back to the region to carry on in his work after so many years. The documentary return voyage follows not only the paths of fleeing war criminals, but is driven by an effort to capture a part of the ethic mission of the then newly formed International Criminal Court in The Hague along, in its double nature: based on an independent investigation of war crimes, to strive for reconciliation in cases of multifarious ethnic, national and other conflicts.

Láďa is always joking. Petr has his own incomprehensible dictionary. Jana seeks a partner via a dating service. They are linked through their joy in music and their involvement in the group founded more than 20 years ago by bandmaster Šimon Ornest. Strictly, almost despotically, without pity but with great energy and understanding, he not only leads his musicians to a place on the music scene but is also their support and friend.

Jan Merta (1952) is currently one of the most important Czech visual artists. In his painting work, shaped by the postmodernism of the 1980s, he leans towards abstract abbreviation and symbolic depiction of reality through everyday objects. The film is a snapshot of his life filled with painting, working in his garden and cohabitation with his partner. The civilian camera follows Merta as he prepares an exhibition for which he attempts to create new works. However, his engagement with the current geopolitical situation enters into the work, as well as the discovery of new compositional principles and creative otherworldliness that co-create his enchanted personal world.