Elen Řádová

Elen Řádová and Tomáš Mašín’s student work draws on the genre of action films, which are characterized by emotionally intense and violent scenes. Excerpts from period blockbusters are supplemented with visual effects and edited in a way that drives the particularities of the action film genre to the point of absurdity. The resulting visual whirlwind thus deliberately escalates—and thereby diminishes—the dramatic impact of the original footage.

Marta (Lucie Patikova) was blinded in an accident brought on by her careless and indulgent younger sister. Now in a school for the blind, Marta keeps up her hope that she will one day see again, mainly because her mother - out of good intentions - has led her to believe that the blindness is only temporary. Before long, Marta comes to realize that her condition will last until she dies, and she begins to despair, hating her mother for giving her false hope. Only a dedicated psychologist, Dr. Mos (Oldrich Navratil) seems to have the means of retrieving Marta from her depression.

The erotic charge of the title is underscored by its visual treatment in the film’s opening, with pink typography evoking the aesthetics of hourly hotels and titillating shows from the 1990s. Instead of sexual imagery, however, the film consists of an animated choreography of two apples, reminiscent of the surrealist stop-motion films of Jan Švankmajer.

Elen Řádová and Tomáš Mašín’s student work draws on the genre of action films, which are characterized by emotionally intense and violent scenes. Excerpts from period blockbusters are supplemented with visual effects and edited in a way that drives the particularities of the action film genre to the point of absurdity. The resulting visual whirlwind thus deliberately escalates—and thereby diminishes—the dramatic impact of the original footage.

The erotic charge of the title is underscored by its visual treatment in the film’s opening, with pink typography evoking the aesthetics of hourly hotels and titillating shows from the 1990s. Instead of sexual imagery, however, the film consists of an animated choreography of two apples, reminiscent of the surrealist stop-motion films of Jan Švankmajer.