Matyáš Řezníček

Alex Plan, a school ombudsman, strives for fair solutions for everyone, often going against the grain of the system and established practices. He advocates for people experiencing problems in education and tackles issues such as teacher murder and student sexual harassment.

No description available.

After years together, Petr and Hana, partners in work and in life, share their unspoken erotic fantasies. What begins as an innocent conversation gradually turns into curious experimentation with a non-monogamous approach to their relationship. But sexual freedom tastes differently for each of them.

At the end of the 1960s, when the air is filled with rock-and-roll and student rebellions are changing the world, the older of two brothers joins a prestigious newsroom of the public radio broadcaster. Not long after, he finds himself in the middle of a dangerous conflict between journalists and the secret service.

No description available.

"A documentary anatomy of mass murder for one monitor and 34 talking heads." These are the words the filmmakers use in the credits to describe their project, which thematises the execution of more than 260 Carpathian Germans, Hungarians and Slovaks by Czechoslovak army soldiers near Přerov in June 1945. The “massacre at Přerov” is made present through a minimalist dramatisation of the interrogation footage of direct participants, eyewitnesses, and others. It is as if the characters of ancient theatre were entering the Zoom “stage” and delivering a tragic message of fear, hatred and disinterest across the chasm of time.

Based on the true story of brothers Josef and Ctirad Mašín who, in 1953, tried to escape communist Czechoslovakia to join the US army in West Berlin.

At Strašperk Castle, the royal budget is being improved by spooky tours instead of raising taxes. These are directed by the resourceful princess Elvíra. Prince Armin arrives at Strašperk, eager to see a magical creature to prove to his royal father that they really exist. As a little boy, he met a witch in the forest, but his father never believed him. Soon, an unexpected event occurs at Strašperk - during the celebration of the king's birthday, the musicians disappear without a trace, then some servants, and finally the king himself. Panic breaks out in the castle. Elvíra and Armin set out to follow the trail of this mystery. It turns out that things are often not what they seem at first glance. And when it comes to magical creatures, no one knows when the next one will be born.

Two siblings set sail as a crew on a yacht on the Aegean Sea. Circumstances soon change when a young documentary filmmaker comes aboard.

Theater in film: Maryša by Jan Mikulášek, directed by Viktor Tauš, is a thoroughly contemporary cinematic confession of a woman who has decided not to succumb to the pressure of those around her and, if she cannot fulfill her love, would rather cause death and self-destruction. A ballad about a case where preserving inner dignity is more important than life itself.

Evžen lives a bohemian life in Prague. An unexpected trip back to his homeland Switzerland confronts him with the smuggled crocodile Karlchen, his father’s sustained delusion and the grotesque charm of the bourgeoisie.

Lupyn returns from prison during the pandemic and plans another job. A local mob boss and a corrupt police lieutenant try to uncover who is disrupting their territory and profit from the situation.

One of Vítězslav Nezval's most striking stories about unfaithful yet devoted love, full of suspenseful twists and turns and an enchanting chivalrous world, was first staged at the National Theater in 2016, losing none of its impressiveness and power. In 2021, Daniela Špinar, director of the original theater production, retold it in a highly original form using the language of film, shooting it as a film project in the authentic surroundings of the historic theater building.

A film about the end of the world and the end of a roll of toilet paper. In his deftly playful work shot on 16mm, filmmaker (and musician) Ondřej Vavrečka reminisces, says his farewells and also reflects on the limits of progress. Via three fictional characters, each of whom responds differently to the impulses of their surroundings, he simultaneously enhances the sensitivity of the film audience. Will a pain we experience leave a scar or merely a colourless memory? And will someone remember the old Vysočany station a hundred years from now? In its poetic charm this cinematic piece is almost tactile in nature; it awakens all the senses and, in places, bears the hallmark of Jan Švankmajer, if the latter had been born an essential optimist, that is. Film as a whisper emanating from smiling lips. (Viktor Palák, KVIFF)