Tomáš Michálek

On a cold February morning, 12-year-old Niki and his family arrive at the Kharkiv metro station to take shelter from the terrifying war raging outside. For Niki's family, daylight is synonymous with mortal danger, and the boy is not allowed to leave the station premises, living under the constant glow of their neon lights. While aimlessly wandering around the abandoned cars and full platforms, Niki meets Vika (11), and a new world opens up to him. As their bond strengthens, the children find the courage once again to feel the sun on their faces.

The real fate of Jiří Arvéd Smíchovský, a prominent hermeticist, occultist, believer in black magic and an exceptionally well-educated person with a brilliant memory. This avid book lover had doctorates in law, theology and philosophy and was fluent in five languages. He was interested in occult teachings, practiced magical ceremonies, was in contact with the Freemasons, but at the same time he was a member of the National Fascist Community while being homosexual. During the war he cooperated with the Nazis, after the war with the communist StB.

One phone call shakes Petra's life from the ground up. Her husband's fatal collapse causes Petra to become a widow from day to day. As she soon finds out, sadness and loneliness are not the only challenges she has to face.

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 Nazis decided to awaken the dark forces of the Old Prague legends in order to use (and abuse) them to destroy the world. The only one who can stop them is Perak.

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The story begins at the moment when the parents of twelve-year-old Nikca and six-year-old Tomas leave for the weekend, and the children have their apartment to themselves for the very first time. And without supervision! Nikca decides to put her little brother away in his room and invite her friend Gabča over, planning to order pizza, watch a horror movie on video, and just have fun. But watching a forbidden scary film is not meant for them.

Mína with her Toy friend are having fun in a sandpit. Suddenly, mud pies are stamped out and the Toy is captured by cycling Totemites! Only the youngest one, Tricycler, feels sorry for the Toy. To save the Toy tied up to a high Totem seems impossible. Our heroes need to overcome risky challenges including digging tunnel under the playground and bike chasing. Finally, Tricycler gives Mína a hand and a new friendship is born.

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.

Jaroslav Kučera in an intimate portrait composed of private footage, in which he sketches the most intimate space of his family with a relaxed hand. Thanks to the director's sensitive selection, we observe scenes of spontaneous posing in front of the camera as well as moments of soothing repose, captivatingly brought together by a soundtrack produced by Aid Kid.