Acting
Inženýrská odysea is a Czechoslovak/Czech TV series about three young students and their lives.
No description available.
The Mráz family is preparing for holidays. Parents are traveling to the spa and little Petr is going to the country to his grandparents. In addition, to the chaotic preparations, mother's friend is bringing a dog Blek. She wants Petr to look after it. Grandfather welcomes Petr and the dog with pleasure because he needs the ally against strict grandmother. Grandfather is not very skillful and thus grandmother often experiences troubles with his ideas.
Lucie Rýdlová is found dead at a destroyed car after a night accident. The seat position shows that she cannot have been driving, and the dissection proves that she had died about four hours after the accident. It is for sure that a timely medical assistance could have saved her life. A pretty young tennis player Lucie lived at her grandmother, because her parents had been working abroad. Criminalists found out that the girl was going out with the interpreter Valenta (Eduard Cupák), who was twenty years older than her, divorced and a bit egoistic man.
An old man is wandering round a badly signposted and as yet mostly under construction Prague housing estate looking for the high rise block into which he is supposed to be moving with his daughter's family. The old granddad from the countryside likes chatting, nothing escapes his eyes and he wants to give everyone a helping hand.
Car transport of the locomotive is difficult, as the cargo is bulky. The three-man crew of the tractor therefore experiences many difficulties on the long journey across Bohemia...
The biggest threat to a successful crackdown on drug traffickers and consumers is the international hitman Barták, sent to the Czech Republic to eliminate all his collaborators...
Although the title would suggest it, this film has nothing to do with fairy tales at all: it takes place in the North Moravian border region just after the end of the Second War. It presents a fragmented mosaic of the fates of many people, returnees and immigrants, who tried to start a new life and believed in a happier tomorrow. Although the director Antonín Kachlík tried to give the story a certain credibility, he submits to the ideological demands of the 1980s. North Moravian borderlands in the first post-war year: a disparate and fragmented sequence of episodes depicts the individual fates of returnees and new immigrants. Another title that perhaps did not even need to be created.
