Ivan Ostrochovský

A documentary about the present and the past of Čierna nad Tisou, a border town in the south-east of Slovakia, once the "Golden Gate of Socialism".

Part documentary, part mockumentary and part stranger-than-fiction lesson in guerilla tactics, Velvet Terrorists is a quirky profile of three very different men and their former attempts to take down the communist regime of Czechoslovakia – by blowing the hell out of it. Having all spent time in prison for their crimes, one-time bombers Stanislav, Frantisek and Vladimir muse on their personal histories, the fall of the regime and their journey into middle age.

Thirteen years after Milan Daniel suffered a serious head injury in a racially motivated attack, his assailant is set to be released. What feelings does this moment awaken in a traumatized man who, though he survived, will forever suffer the consequences of that fateful day? Straddling the line between fiction and documentary, the feature debut by Slovak directors Šimon and Anna Domček is an exceptionally cohesive mosaic of fragmentary pieces of everyday life, memories, dreams, and subjective perceptions. Besides exploring the experience of someone seeking to escape the shadows of the past – shadows that weigh heavily on future generations as well – the film also takes an unusual approach to the subject of racial intolerance.

No synopsis available yet.

A country awakens from a deep winter sleep. An incomprehensible and absurd world slowly unfolds before the camera, imbued with strangeness, even though we are familiar with its sounds, rhythms and colours.

Incomplete thoughts and fragments of dialogue, diverse music interrupted by rushes and glitches, and the seemingly confused, unanchored camera, create a disturbing, philosophical reflection on the limits of anthropocentric thinking.

A documentary about the present and the past of Čierna nad Tisou, a border town in the south-east of Slovakia, once the "Golden Gate of Socialism".

Part documentary, part mockumentary and part stranger-than-fiction lesson in guerilla tactics, Velvet Terrorists is a quirky profile of three very different men and their former attempts to take down the communist regime of Czechoslovakia – by blowing the hell out of it. Having all spent time in prison for their crimes, one-time bombers Stanislav, Frantisek and Vladimir muse on their personal histories, the fall of the regime and their journey into middle age.

Part documentary, part mockumentary and part stranger-than-fiction lesson in guerilla tactics, Velvet Terrorists is a quirky profile of three very different men and their former attempts to take down the communist regime of Czechoslovakia – by blowing the hell out of it. Having all spent time in prison for their crimes, one-time bombers Stanislav, Frantisek and Vladimir muse on their personal histories, the fall of the regime and their journey into middle age.

Thirteen years after Milan Daniel suffered a serious head injury in a racially motivated attack, his assailant is set to be released. What feelings does this moment awaken in a traumatized man who, though he survived, will forever suffer the consequences of that fateful day? Straddling the line between fiction and documentary, the feature debut by Slovak directors Šimon and Anna Domček is an exceptionally cohesive mosaic of fragmentary pieces of everyday life, memories, dreams, and subjective perceptions. Besides exploring the experience of someone seeking to escape the shadows of the past – shadows that weigh heavily on future generations as well – the film also takes an unusual approach to the subject of racial intolerance.

No synopsis available yet.

A country awakens from a deep winter sleep. An incomprehensible and absurd world slowly unfolds before the camera, imbued with strangeness, even though we are familiar with its sounds, rhythms and colours.

Incomplete thoughts and fragments of dialogue, diverse music interrupted by rushes and glitches, and the seemingly confused, unanchored camera, create a disturbing, philosophical reflection on the limits of anthropocentric thinking.

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.

Ingrid works as a gynecologist in a district hospital in Slovakia in the late 1980s. Her marriage is at a standstill, she has an affair with a younger colleague in the hospital, and after work, she sits on the abortion committee where they offer Roma women sterilization after the abortion is approved. Eighteen-year-old Agáta, who grew up in a children’s home, comes to work as a nurse at the hospital. Ingrid unexpectedly becomes close to her.

Ingrid works as a gynecologist in a district hospital in Slovakia in the late 1980s. Her marriage is at a standstill, she has an affair with a younger colleague in the hospital, and after work, she sits on the abortion committee where they offer Roma women sterilization after the abortion is approved. Eighteen-year-old Agáta, who grew up in a children’s home, comes to work as a nurse at the hospital. Ingrid unexpectedly becomes close to her.

Ingrid works as a gynecologist in a district hospital in Slovakia in the late 1980s. Her marriage is at a standstill, she has an affair with a younger colleague in the hospital, and after work, she sits on the abortion committee where they offer Roma women sterilization after the abortion is approved. Eighteen-year-old Agáta, who grew up in a children’s home, comes to work as a nurse at the hospital. Ingrid unexpectedly becomes close to her.

Martin Kollár’s acclaimed cinematography reigns resplendent in the silent story of a man waiting for important surgery. Discovering he's facing the possibility of only having a few months left to live, Ján Kollár embarks on a journey with no destination and only a deadline.

The film captures a period in the life of figure skater Ondrej Nepela, when in 1972 he returns with a gold medal from the Winter Olympic Games in Sapporo, marking the peak of his sporting career. At home, he is greeted not only with fame but also with the realities of the communist regime. Everyone treats him like a celebrity, but the sensitive Ondrej longs above all for an escape from this uncomfortable golden cage. He wants to live freely and in harmony with who he feels he truly is. Yet at the last moment, his promised chance to leave for a professional ice revue is forbidden, and he is ordered to compete in another World Championship. Disappointed, Nepela must find new motivation and also come to terms with the tragic death of his best friend, figure skater Hana Mašková.

Michal and Juraj, two students of a theological seminary in totalitarian Czechoslovakia, must decide if they'll choose the easier way of collaboration, or if they'll subject themselves to the surveillance of the secret police.

Michal and Juraj, two students of a theological seminary in totalitarian Czechoslovakia, must decide if they'll choose the easier way of collaboration, or if they'll subject themselves to the surveillance of the secret police.

Michal and Juraj, two students of a theological seminary in totalitarian Czechoslovakia, must decide if they'll choose the easier way of collaboration, or if they'll subject themselves to the surveillance of the secret police.

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.

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.

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.

Lesya has committed a crime of passion which brings her a seven-year sentence in one of Odesa’s women’s correctional facilities. She has just given birth to her first child, and now she is entering a world populated only by women: inmates, nurses and wardens, women of all ages, wives and widows, daughters, sisters, pregnant women, and women with children too. If not for the color of the uniform, it would sometimes be hard to tell who is who.

Lesya has committed a crime of passion which brings her a seven-year sentence in one of Odesa’s women’s correctional facilities. She has just given birth to her first child, and now she is entering a world populated only by women: inmates, nurses and wardens, women of all ages, wives and widows, daughters, sisters, pregnant women, and women with children too. If not for the color of the uniform, it would sometimes be hard to tell who is who.

A grittily realistic tale of prostitution at an Eastern European border town

A drug-addicted punk, Kwicka, lives with his companion and son in a dilapidated sublet. His alternative way of life collides with harsh reality when he receives a letter from social services warning that his child will be taken away. Kwicka tries to make things right, but his impulsive behaviour turns his rescue efforts into a free fall.

For 25 years, Richard Müller has been a key figure in the Czech and Slovak music industry. Despite quitting music once, he returned to the stage while battling untreated manic depression and drug use. The documentary offers an intimate look at his artistic journey and personal struggles, amidst constant fan and tabloid attention. Filmed over three years with over 200 hours of footage, it includes home videos shot by Müller. It follows the tradition of Czech artistic documentaries like Amy and Nick Cave: 20,000 Days on Earth, exploring themes of inspiration and loneliness.

This year’s gallery of artistically inspiring portraits of uncompromising eccentrics (among them The Hanging of Stuart Cornfeld, Robert Richardson: The White Devil and A Pint of Ink) features another unobtrusive stand-out in the shape of Igor Luther, a key figure of Slovak and European cinematography. Ivan Ostrochovský’s perspective is rare, dynamic and also meditative, while Luther himself co-authored the project during the last few months of his life. Works such as Juraj Jakubisko’s Birds, Orphans and Fools, Volker Schlöndorff’s The Tin Drum and Andrzej Wajda’s Danton, in the persuasive words of their creators, wouldn't have the same timeless energy today if it weren't for Luther's visionary endeavours.

This year’s gallery of artistically inspiring portraits of uncompromising eccentrics (among them The Hanging of Stuart Cornfeld, Robert Richardson: The White Devil and A Pint of Ink) features another unobtrusive stand-out in the shape of Igor Luther, a key figure of Slovak and European cinematography. Ivan Ostrochovský’s perspective is rare, dynamic and also meditative, while Luther himself co-authored the project during the last few months of his life. Works such as Juraj Jakubisko’s Birds, Orphans and Fools, Volker Schlöndorff’s The Tin Drum and Andrzej Wajda’s Danton, in the persuasive words of their creators, wouldn't have the same timeless energy today if it weren't for Luther's visionary endeavours.

No synopsis available yet.

A 12 year old swimming star becomes the emotional casualty of her parents acrimonious separation, in this powerful coming of age story about youth rebelliously standing up to the cruelties and immaturities of adulthood.

Documentary about Stefan Uher's film.

Documentary about Slovak fascist militia called Hlinka Guard, named after Andrej Hlinka.

Documentary about Slovak fascist militia called Hlinka Guard, named after Andrej Hlinka.

Documentary about Slovak fascist militia called Hlinka Guard, named after Andrej Hlinka.

Peter "Koza" Baláz is a former Olympic boxer. He and his partner, Misa, live in a dilapidated housing estate, constantly struggling to make ends meet. Misa learns that she is expecting a child and decides to terminate her pregnancy. In order to earn some much-needed cash and possibly change Misa's mind. He and his manager Zvonko embark on a "tour", where success is not measured in victories, but in the amount of blows that Koza can take.

Peter "Koza" Baláz is a former Olympic boxer. He and his partner, Misa, live in a dilapidated housing estate, constantly struggling to make ends meet. Misa learns that she is expecting a child and decides to terminate her pregnancy. In order to earn some much-needed cash and possibly change Misa's mind. He and his manager Zvonko embark on a "tour", where success is not measured in victories, but in the amount of blows that Koza can take.

Peter "Koza" Baláz is a former Olympic boxer. He and his partner, Misa, live in a dilapidated housing estate, constantly struggling to make ends meet. Misa learns that she is expecting a child and decides to terminate her pregnancy. In order to earn some much-needed cash and possibly change Misa's mind. He and his manager Zvonko embark on a "tour", where success is not measured in victories, but in the amount of blows that Koza can take.