Vít Pancíř

No description available.

Based on the novel by Jáchym Topol. Potok works as a set designer in a small theater. He is in his thirties and his life is essentially going nowhere. He views his surroundings and himself with contempt. His aimless life only changes when he meets Černá. The couple in love escapes from the city. Inevitably, however, they once again encounter human calculation, shallowness, and bad taste. Potok falls back into his former skepticism, which leads to the total breakdown of their relationship. Černá leaves him, and a desperate Potok slowly comes to a more conciliatory attitude toward the world, where there is no longer any place for great love and dark romance. Unlike Jáchym Topol's literary work of the same name, which takes place during the three years after 1989, the film ignores the time frame. It focuses on the hero's internal conflicts, which are timeless.

On the outskirts of Třeskoprsk, in a small house, live four friends. Fifinka, Pinďa, Bobík, and Myšpulín sit around a campfire reminiscing about the adventures they had over the past year. Each of the heroes tells a story that they consider to be the very best. With Pinďa, we experience a successful climbing trip to Devil's Thumb; with Myšpulín, a thrilling search for the cruel Werewolf; with Bobík, a fantastic journey into space; and with Fifinka, a Christmas visit to the little devils. Whose story will be the most beautiful?

No description available.

The fates of a young couple in love, an old lady tending to a flower on her windowsill, a successful runner, and a one-legged beggar on a street corner gradually intertwine in the presence of a relentless wind, which, like human footsteps, can be seen as a metaphor for the tireless cycle of life.

Nothing More consists in the contrast between the abstract and the concrete, the permanent and the moments that are there for a split second and perhaps for eternity… Anyhow, in what way are films similar to poems?

No description available.

A short experimental-documentary film which in the form of a film journal examines the tensions in the transformations of the world around us. The broadly shot walls are the leitmotif of the film, still cracked versus the monochromely smooth and strikingly colourful new walls. The concrete (identifiable) transforms into the abstract (unidentifiable).