Josef Kokta

Produced by Czech television, Mestecko (Small Town) is the directorial debut of theatrical veteran Jan Kraus. This episodic comedy is set in the small town of Mestecko (which literally translates to "small town") right before the Velvet Revolution of 1989. Tonda (Vlastimil Brabec) leads an ensemble cast of townsfolk who are eager to experience capitalism, but are unaware of how it's supposed to work. They set out to pull get-rich-quick schemes and end up creating their own version of free enterprise. For instance, a group of men run for office as a political party called the"Independent Eroticists" so they can hire a stripper to perform for the town. Individual business owners plot various schemes in order to participate in the new economy as the town heads into the '90s

What do you do when love simply isn’t on the cards and keeps passing you by? 60-year-old Kristýna has lost her last ray of hope, so she goes off with her daughter Sára to talk to a fortune-teller about her sorry lot in life. One year on from Mirrors in the Dark, Šimon Holý brings us another wholly independent film about life’s traumas as seen from a female perspective, this time with a liberal dose of esoterica on top.

A nuclear power plant worker obsessed with counting has set a maximum limit on how much electricity he wants to consume until the end of his life. In this grim but masterful 35mm film-poem with strong mathematical undercurrents, Marie-Magdalena Kochová presents to us a story of a man whose life is moving towards transformation. A loving acceptance of the fact that we are not just our bodies, but energy too.

Tereza cherishes moments of being the carefree girl she once was. She enjoys time with her boyfriend, but her thoughts drift to fears about raising Karla. She keeps her worlds apart, but one night changes everything. The Tower is a short film about losing oneself and how life's most important roles are often thrust upon us.

The concept of apparatgeist expresses how people's relationship to technology is evolving and how their social contacts are changing. The film focuses on the phenomenon of mobile phones, which it presents in the allegorical space of the apparatgeist, a desolate, inhospitable place where the displays of ubiquitous smartphones act as windows into the worlds of internet mundanity and the bizarre, as well as a springboard for interaction with digital devices.