Jan Lorman

The honest and a bit naive director of a variety agency, Jožin Petránek, sits on the qualification committee that judges entertainers and performers of all kinds. The man firmly rejects any favouritism. But at work and at home, he's in for nothing but trouble. The rejected "artists" protest, and Jožin's wife Anna would like to promote her friend's daughter into show business. His new secretary Zuzana starts to seduce him. Petranek finally succumbs to the French chansonnier Madelaine. But Zuzana calls Mrs. Petrankova and she drives her husband away from the table and the bed. Eventually, Jozhin loses his position as director and becomes an ordinary stage recruiter. Now the real showbiz hype is just beginning for him...

It is 1920, political unrest is growing in Prague and the Social Democrats are about to betray their historic mission by prioritising their own selfish interests instead of those of the working class. An extortionist scandal falls on the Social Democratic deputy Jandák, forcing him to renounce his convictions. Under these circumstances, the seriously ill Hungarian revolutionary Kerekes, who had to flee his homeland, is hiding in Prague...

At the beginning of normalisation in the 1970s, the appearance of ideologically tinged stories intensified, but there were also attempts to create unpretentious entertainment, cut almost according to First Republic models. This film develops the confusion surrounding the preparations for the celebration of a golden wedding between a retired miner and his wife... Director Jaroslav Mach relies on situational comedy stemming from misunderstandings and confusions, as well as verbal banter, based on the constant banter between the celebrants.

A divorced engineer is preparing "accidental" meeting between his eleven years daughter and his fiancé.

A television adaptation of the memories of one of the first important Czech actors, Jindřich Mošna, about his difficult theatrical beginnings. At that time, as a kandrdas – i.e. a beginner – he asked the director for a so-called benefit, which was a performance that belonged to an important actor and whose proceeds were to belong to him. The director agreed, but stipulated that he would take almost all of the fee. Mošna chose The Bell Ringer at the Mother of God as the performance.