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Roman runs a fake car dealership on the outskirts of town, has three children, a vivacious wife and drinks. Emil, a fanatical lover of order, runs his downtown garage, which is backed by his greatest pride: a mock-up of a Formula One car. When Emil wins tickets to the Formula One Grand Prix in a TV competition, he has no choice but to ask his cousin Roman to drive him there. He can't drive. Little do either of them know that the local trouble magnet, the top supplier of stolen cars and Roman's prison friend Štětka, is about to pounce.
Flexible, powerful, and naive. The fates of three men intersect at the launch of Czechoslovak television broadcasting. Ambitious actor František Filipovský has no idea that his casual improvisation on the theme of "the miser" will go down in history. For Minister of Information Václav Kopecký, it is a moment of great nervousness: will he convince his comrades that television broadcasting is the golden goose of communist propaganda? A young television technician is fascinated by the "remote transmission of images and sound" – he has a job he never dreamed of. But can a person fulfill their dreams in communist Czechoslovakia in the 1950s without getting involved with the regime?
Renowned Czech drummers gathered on one stage at the Fléda club in Brno, where they did not hesitate to play up to two tons of various percussion instruments in musical styles from around the world. This time, the core of the Drummers' Gathering consisted of players of classical Western percussion instruments Pavel Fajt, Pavel Koudelka, and Marcel Gabriel, supported by Miloš Vacík's Latin American rhythms. Tomáš Reindl played Arabic drums and Indian tabla. Guitarist Zdeněk Bína, who has been performing solo since the breakup of the band -123minut, is already a traditional guest at this exceptional musical event. Other guests were also an integral part of this ambitious project, including singer and rapper Ondřej Anděra and singer and keyboardist Oona Kastner.
Today, analogue video is attractive primarily thanks to the distinctive aesthetic quality of its pixelated image and raster errors. But for Czech artists who first explored the possibilities offered by video art in the late 1980s, this medium represented a path towards freedom. Through a portrait of her grandfather Radek Pilař, one of the pioneers of Czech video art, the director explores her own legacy of imperative creative fascination. Her film’s main story, i.e., the process of reconstructing the 1989 exhibition Video Day, contrasts this enchantment with life in the final days of the totalitarian regime, which different sharply with the adventures of those who decided to emigrate – whom the filmmaker also visits in order to discover forgotten works, get to know their creators, and re-establish broken ties.
Passionate Emma and impulsive but introverted Tomáš fall in love. They are like two missing puzzle pieces coming together. But Emma's pornographic past inevitably catches up with them.
The film is an inquiry into contemporary forms of alternative models of partnerships. For many protagonists, polyamory, open marriage or long-term lover-to-lover relationships present a fulfilling life style, but also a struggle with misunderstanding of the society or conflicts within their own relationships. The director follows the development of relations of her protagonists over several years, while in intimate talks, she searches for the joy, striving and insecurities brought along by such unusual faces of love, revealing a need for redefining partnership in our times.
Human action is often influenced by the desire for knowledge. This desire is in itself a positive impulse and could be said to be the basis of all progress. Let's move this statement to the ground of scientific research at CERN, and see if it applies here - and then test the common experience that human stupidity permeates every social stratum and, in the case of the elites, is a potential threat.
Documentary portrait of Karel Köcher, supposedly the most important communist agent to infiltrate the CIA.
