Ondřej Vetchý

Whizzy is a little mouse, Whitebelly is a fox. They are naturally mortal enemies. One day, after an unfortunate accident, both meet in animal heaven. Together, they will embark on a fantastic journey and discover friendship can overcome everything.

The story of fifteenth century Czech icon and warlord, Jan Zizka, who defeated armies of the Teutonic Order and the Holy Roman Empire.

When sisters Jana and Anna meet their half-brother at their father's funeral, the siblings' lives entwine as they navigate relationships and setbacks.

After a fictitious marriage with a Russian emigrant, Cellisten Louka, a Czech man, must suddenly take responsibility for her son. However, it’s not long before the communication barrier is broken between the two new family members.

Capturing the dark humor of Czech author Michal Viewegh's chronicle of life after the Velvet Revolution, this black comedy chronicles three decades in the life of a small Czech family. While the original novel centered on the protagonist Kvido from his conception through his adulthood, first time director Petr Nikolaev and screenwriter Jan Novak changed the focus to his parents Milena, an extremely self-effacing lawyer who acts on stage in her spare time, and Ales, a rather aimless government worker who tends to drift wherever the wind takes him. The lives of Ales and Milena change dramatically following the Russian invasion of Prague in 1968.

Manipulation, coercion, humiliation, aggression. Hidden cameras captured the rough background of the seniors' demonstration events. What really happens on the popular free lunch tours? Practices that give you chills. Lies and deliberate manipulation, the sole purpose of which is to force defenseless old people to buy overpriced goods. Seniors pay exorbitant sums from their meager pensions for often low-quality products. Some of them worry that they will never go to any event again, others can't stand it and go again. What drives them? Curiosity? Loneliness? Or addiction?

Slovakia, on the eve of the outbreak of World War II. The family of the young Jewish Martin Friedmann gathers to celebrate his bar mitzvah and make a solemn promise that they will all meet again a year later around the same table; but the storms of war and anti-Semitic fanaticism will lead each of them down very different paths.

The fall from the top to the absolute bottom can be very fast. A renowned physician, also a beloved father and husband, is accused of a serious felony. Innocence is hard to prove, especially when in desperation to try to save oneself, we sacrifice the secrets that should have remained hidden forever.

In the 1980s, the building themes were transformed into bipolar moral dilemmas involving overly ambitious individuals who wanted to excel at any cost. The hero is the head of a demolition crew that demolishes large buildings, initially a sympathetic young man who, in the pursuit of career and accolades, begins to transgress the boundaries of what was then called socialist morality and legality. He gradually finds himself at odds with the principles of ordinary but honest people. The narrative's bland, proclamatory film is closely connected to its time of creation, and there are hardly any more timeless insights to be found.

As the name suggests, the movie is about football. It is not about big league soccer, making huge money. It is about football, which lives just from village fans enthusiasm, from the enthusiasm of fathers and their sons and club officials. And yet on this battlefield, where the pub and silent household alternates, it is often about everything: friends, family, the meaning of life. It is about playing fair, but also about fighting below the belt. It is about winning, but also about falling into the abyss of the league wilderness.

The nurse Helga meets Baltic nobleman Arno when he's wounded in the Russo-Finnish war. They have a short but passionate affair before Arno is called back to the front and dies. Helga has a daughter, Dorli, as a result of the affair and they have to struggle to survive after the Red Army wins the war.

This story actually happened in the region around the city of Sumperk in Jeseniky Mountains in May 1945. The disappearance of Agnes, the German wife of a Czech forester Jan Olsan is a dark mystery. She is the only one who knows who and for what reason is looking for her. It's the end of the war, times are bad and the Czechs are coming back from the inland to the frontier. The guards are forming and soldiers are coming. Fate brings together the outlaw Jan and his German brother-in-law Jurgen who has just returned from the eastern front line. Both men are looking for exactly the same woman and that is Agnes. But Agnes escaped; she is running away through the deep woods followed by the most powerful man of the county. Running away for what she had witnessed. The fatality of the relationship between Agnes and Jan can only be learned in the mountains on this thorny journey.

Joseph K. awakes one morning, to find two strange men in his room, telling him he has been arrested. Joseph is not told what he is charged with, and despite being "arrested," is allowed to remain free and go to work. But despite the strange nature of his arrest, Joseph soon learns that his trial, however odd, is very real, and tries desperately to spare himself from the court's judgement.

Lt. Franta Slama is a top pilot in the Czech Air Force who is assigned to train a promising young flier, Karel Vojtisek, and they soon become friends. When Nazi Germany invades Czechoslovakia in 1939, they both reject the authority of their new leaders and escape to England where they join other Czech exiles in the RAF. While flying a mission over England, Karel crash lands and happens upon the farmhouse of Susan, a young woman whose husband is in the Navy. Karel soon falls head over heels for Susan but, while they enjoy a brief fling, in time Susan decides she prefers the company of the older and more worldly Franta. As Franta and Karel struggle to maintain their friendship despite their romantic rivalry.

Four fathers meet in the secondary school gym, where the headmistress has summoned them after a bag containing a suspicious white powder was found amongst their sons’ belongings during a skiing trip. Each of them arrives with different excuses and the conviction that it is their child who is innocent. What’s more, the headmistress knows that a local councillor is trying to secure her job for his mistress, and she suspects that the whole situation is part of a campaign against her. The meeting thus quickly descends into a series of misunderstandings, accusations and increasingly absurd situations. One afternoon that spirals completely out of control for everyone involved.

Two brothers live with their mother in an old house on the outskirts of town. They both work in a printing house. Elder Bóža is a quiet, responsible person with views determined by the Christian faith. Dan is a dude who revels in pub fun. Only after the tragic death of a person, he begins to understand that something is missing in his life.

A well-known writer now aged 75 is aware of his increasing age and the risk that his literary style will grow worn. His everyday existence is enlivened by characters from his stories, who tend to enter reality in unexpected ways, at various stages of completeness and with all kinds of strange demands.

As preteen, aspiring filmmaker Tomas trains his new camera’s lens on his own world, shocking family secrets around him come into sharp focus.

Based on the popular television series Okresní přebor. As the title suggests, the film features the legendary figure of licensed coach Josef Hnátek. Since this man appeared in the series only as ashes scattered on the Houslice football field, the filmmakers decided to introduce him to viewers in his living form. The story of the feature film is set during his lifetime and explores the dilemma of a man for whom football is his whole life. Even more than life itself. The title role of the Houslice personality will be played by theater director, artistic director of Prague's Dejvické Theater, and occasional actor Miroslav Krobot.

Two happily married couple, Michal and Blanka, experience a regrettable misunderstanding: the wife leaves home with their young son, but unfortunately her husband does not find the explanatory letter. Normally, he would wait for the matter to resolve itself, as he does not believe that his wife would just leave him, but he is under a lot of pressure: from his own parents, his neighbor, his mother-in-law, and his "good friends." They all advise him that the only solution is an immediate divorce. After a week, everything is explained, Michal finds Blanka's note and realizes how little he trusted Blanka and how easily he believed others...

It tells the story of a young man who was turned into a donkey by curiosity and a fatal mistake. While the hero despairs and does not know how to return to human form, we can observe through his eyes the society that surrounds him. The television fairy tale of screenwriter Jiří Bednář and director František Filip alternates dramatic tension with comic moments.

In a deserted clearing, a forest ranger finds the lifeless body of a man. He manages to revive him, but the man remembers nothing. He doesn't know how he got into the forest or why he is covered in blood, and instead of answering questions, he runs away. The ranger sets out after him and gradually discovers that the man is involved in a bloody vendetta, which he may have initiated himself and in which his fourteen-year-old daughter plays an important role.

This simple story is the feature debut for well-known Slovak theater and television director Juraj Nvota. Set in a Slovak village at the turn of the last century, the story teems with passion, and repressed and hidden emotion. It delves into the search for identity, investigating both love and hatred, while dramatizing the tragic relationship between an adolescent girl (Tatiana Pauhofová) and her ambitious father (Ondrej Vetchý). Set against the striking though simple backdrop of a picturesque, even idyllic, landscape - one ostensibly cut off from any important historical, political, or social context whatsoever - the arrival of an unwanted individual evokes the onset of a cruel drama.

Adolescence is always a difficult time; it is doubly so for Gábina. For one thing, she is growing up in the normalization years of the 1970s, and then she also has to face the reality that her father is a well-known actor disavowed by the regime. Although he abandoned the family years before, his existence casts an ominous shadow over the lives of not only Gábina, but also her older sister and mother, who are trying to find a civilized way through the social mire of the times.