Jakub Mahler

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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.

Zofie and Andrea offer paid content on adult platforms. While Zofie tries to rebuild her damaged self-esteem after breaking up with Roman and experiment with these platforms, Andrea longs for financial freedom which moves her from her original goal of making a living by serious modeling. Zofie sees adult platforms as a kind of emancipation tool, while financial situation and demands of fans drive once famous Andrea deeper into darker waters of sex influencership.

Jirka and Aneta are a young couple who enjoy the routine of their quiet relationship and are in no hurry to make big decisions in life. One night in their inherited flat, the doorbell rings and standing at the door is Jirka’s mother Valerie. An initially brief call turns into a never-ending visit from an intense and caustic diva whose presence fundamentally disrupts the couple’s privacy. Certainties are shaken, boundaries broken.

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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.

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.