Antonín Kopřiva

Sudetenland, May 1945. A group of retreating German soldiers capture a group of young female workers, totally deployed in a chemical factory. He wants to use them as hostages during his advance to the American demarcation line. Together with them, they take refuge in a nearby castle, which soon becomes the site of the last battle that takes place both in the minds and in the backdrop of war-torn Czechoslovakia, shortly before liberation. A psychological probe as well as an intimate drama set within the walls of a small castle, it is a mosaic of mini-stories charting the fates, attitudes and thought processes of individual characters on both sides of the barricade.

Three men want to make their mark on Czech history. One filmmaker senses an opportunity. And among them is a girl determined to uncover the secrets of her missing father. Richard Bartyzal believed he was just one step away from discovering evidence of collaboration between the Nazis and the Vatican. Together with his friends, he wanted to find Adolf Hitler's personal archive, allegedly hidden during the May uprising of Czech patriots. And ceremoniously hand it over to the state. However, the opponent they encounter is beyond their strength. Now they are missing. The police accuse them of robbery and murder. Petra Bartyzalová has only one option left. To study the materials her father filmed and follow in his footsteps. What she discovers forces her to reevaluate her relationship with him. She searches for her father in order to find herself.

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.

Technical school student Pavel Brychta, arrives at a youth correctional facility located within a chateau in Konečno. He is an atypical, but not hopeless case for the institution. Pavel comes from a well-off family and his antisocial behaviour on the verge of criminality was some kind of response to his difficult relationship with his authoritative father. However, it takes quite some effort for Pavel to find his place in this environment of bullying, and also diverse methods from the tutors

Technical school student Pavel Brychta, arrives at a youth correctional facility located within a chateau in Konečno. He is an atypical, but not hopeless case for the institution. Pavel comes from a well-off family and his antisocial behaviour on the verge of criminality was some kind of response to his difficult relationship with his authoritative father. However, it takes quite some effort for Pavel to find his place in this environment of bullying, and also diverse methods from the tutors

Sudetenland, May 1945. A group of retreating German soldiers capture a group of young female workers, totally deployed in a chemical factory. He wants to use them as hostages during his advance to the American demarcation line. Together with them, they take refuge in a nearby castle, which soon becomes the site of the last battle that takes place both in the minds and in the backdrop of war-torn Czechoslovakia, shortly before liberation. A psychological probe as well as an intimate drama set within the walls of a small castle, it is a mosaic of mini-stories charting the fates, attitudes and thought processes of individual characters on both sides of the barricade.

Sudetenland, May 1945. A group of retreating German soldiers capture a group of young female workers, totally deployed in a chemical factory. He wants to use them as hostages during his advance to the American demarcation line. Together with them, they take refuge in a nearby castle, which soon becomes the site of the last battle that takes place both in the minds and in the backdrop of war-torn Czechoslovakia, shortly before liberation. A psychological probe as well as an intimate drama set within the walls of a small castle, it is a mosaic of mini-stories charting the fates, attitudes and thought processes of individual characters on both sides of the barricade.

A young woman named Alena discovers her fiancé Pavel's repeated infidelity. After meeting with her former married boyfriend, she loses control of her car and crashes. The result is tragic: severe injuries to her head, spinal cord, and spine. Even after several months, doctors and parents consider her condition hopeless. The only ones who do not lose faith in her recovery are the doctor in the rehabilitation department and her grandmother, who takes care of her. The others cannot cope psychologically with the situation that has changed their lives. Hopelessness and helplessness influence their actions. Will they be able to find the strength to overcome their selfishness and help not only Alena but also themselves?

Luděk Krejza, a tile-layer, returns from prison after serving time for manslaughter. In a retrospective, the viewer is introduced to his story. It is a not very well-known film, which with the passage of time has completely disappeared from the awareness of even the more deeply informed interested in domestic cinema. The song "Dudes, you're on" is sung by the Yo Yo Band.

Luděk Krejza, a tile-layer, returns from prison after serving time for manslaughter. In a retrospective, the viewer is introduced to his story. It is a not very well-known film, which with the passage of time has completely disappeared from the awareness of even the more deeply informed interested in domestic cinema. The song "Dudes, you're on" is sung by the Yo Yo Band.